The University of Melbourne Melbourne School of Design Master of Architecture, Studio C Winter 2021
Beware! We Drive Directly into the Sun. Immortalizing Tsukuba Academic New Town.
a project by
Jack Fountain Studio 22 - Capriccio, Folly, City. run by Kim Vo and Richen Jin
Contents. Tsukuba Academic New town
2
Tsukuba Center Building
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Gilles Deleuze
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Beware! We Drive Directly into the Sun. Prologue
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Chapter 1
77
Chapter 2
85
Chapter 3
95
Epilogue
102
Reflection
108
Capriccio 1
112
Capriccio 2
118
Folly 1
124
Folly 2
130
Folly 3
136
Reference Material
144
Bibliography
154
Acknowledgments and Contact
156
Plan highlighting intended site for Tsukuba Academic New Town.
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Tsukuba Academic New-Town. In 1963, the Japanese Government ordered the development of a ‘new city,’ built on foundations of Science and Academia in the foothills of Mt. Tsukuba.1 The project called for a decentralization of Tokyo’s academic and research institutions in an effort to control and redirect the uncontrollable overcrowding of Tokyo. In 1969 the Japanese Government finished a land buying spree, broke ground and Tsukuba Academic New-town (AKA Tsukuba Science City) was born.
1. Bloom and Asano, Tsukuba Science City: Japan Tries Planned Innovation. 1-9.
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The scheme totaled some 28’560 hectares. With a 2’700 hectare core designated as the ‘Academic District’ (See Opposite.)1 The New-Town aimed to entice the academics and students of Tokyo with promise of a new academic cultural hub. Until 2005, Tsukuba had no train station. An anomaly for Japan. The New city at the time of its conception is coined an ‘automobile-city’1 and its planning is evidently defined by key road infrastructure. However, Beware! We are Driving Directly into the Sun.
1. Bloom and Asano, Tsukuba Science City: Japan Tries Planned Innovation. 2. (Opp) Current Tsukuba City Site Plan.
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Tsukuba Academic New-Town Planning Regions
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Original Planning Diagram
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Plan of the Universities and surrounding government institutions of Tsukuba.
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Tsukuba as a Political Object. Inherent to an understanding of Tsukuba, is to understanding the zeitgeist that surrounded its conception. As Japan enjoyed the Post-WW2 boom, it entered a period of technological and social prosperity. However, in the midst of its metamorphosis from an imperialist colonial force to a liberal democracy, the Japanese government felt they submitted to the West in one key area, Academia. Tsukuba Academic New-Town was to be a literal manifestation of Japanese National Identity, and to construct institution which would elevate the academic landscape to contend with that of the US and Europe.
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“In the 1970’s it was said that those moving to Tsukuba needed three things: high boots for the mud, a flashlight (as there were few streetlights), and a stick to beat away the wild dogs.1
Large scale watercolor rendering of ‘Tsukuba Center Building in Ruins,’ 1983. By Arata Isozaki.
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This project does not seek to contend with Tsukuba Academic New-Town, the idealist crown jewel of Japanese Academia... as it simply does not exist. This project seeks instead to immortalize an image of Tsukuba as it was originally conceived. An ideal city, a product of academic prosperity. The population of Tsukuba has never reached its intended level, and no broader societal impact of academia has been observed.2 Whilst ideal in its conception, Tsukuba was left in a social, political and infrastructural blackhole. It’s proximity to Tokyo was both the rationalization for its existence, and its downfall, as academics chose to commute rather then move their families. Tokyo is a globally dominate city-network. As was inevitable, it has swallowed Tsukuba, and left behind a mere remnant of Tsukuba’s intended Grandeur. This project attempts to change that.
1. Lambert, Building Innovative Communities: Lessons from Japan’s Science City Projects. 12. 2. Bloom and Asano, Tsukuba Science City: Japan Tries Planned Innovation. 8.
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Tsukuba Center Building in Ruins, screen print, Arata Isozaki.
Tsukuba Center Building. Arata Isozaki. 1979-83. The Tsukuba Center Building was a key, varied commercial development at the figurative and literal center of Tsukuba Academic New Town. Tsukuba Center building (TCB) is defined architecturally by the varied relationships between fragment, whole and pure geometric form. This has lead to a common, unfortunate reading of the building as a ‘post-modern’ pastiche. This was not Isozaki’s intention, he sought not to collage western elements, but to embrace cosmopolitanism in a direct act of rebellion against strong Japanese Nationalism.
“...frequently before a revolution, or in its early stages, architects fixated on pure geometric form emerged.”1
1. Isozaki, Japan-ness in Architecture 173.
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Site Plan and Context Plan.
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Aerial View of TCB.
TCB Plan. (Opp) Plaza Ornament.
Western Section.
Southern Section.
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View from plaza towards hotel at night.
View towards hotel showing plaza ornament
Eastern Elevation.
Southern Elevation.
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(Top) Capitoline Hill, Rome. Plan of Piazza di Campignalo
Borrowing from Rome. Piazza di Campignalo was designed by Michelangelo in an attempt to control the difficult topography, and off-axis facades of Capitoline Hill. His design was deemed, ‘un-Christian’ by the Pope and not realised until 1940 when Mussolini took power, and its construction became an imminent priority. The pattern serves to unite an insufficient civic condition around a central figure. Isozaki implements the pattern with the same intent.
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The Tsukuba Center Building denoted Isozaki’s first moment of political activism. Throughout the 1970’s he remained silent. But as the 80’s approached, Japan found itself at a moment of decision. Would their Post-ww2 prosperity drive a metamorphosis towards a liberal democracy, or would they push further into their inherent Nationalism. The Tsukuba Center Building is a product of globalization, and a monument towards cosmopolitanism. It is Isozaki’s vocation of the direction he hoped for Japan.
Tsukuba Center Building in Ruins, screen print, Arata Isozaki.
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Embracing Ruin. “Standing motionless in the remains of the fire... that’s when my memories of the city begin.”1
A fascination with destruction and ruin filters throughout all of Isozaki’s work. Screen prints of Tsukuba in a dystopian state of decay form a key part of his competition entry for the Tsukuba Center Building. Whilst seemingly a critique of Japanese and Metabolist idealism, further inquiry reveals a focus on what exists in the metamorphosis between prosperity and decay. The Ma, the space between.2 Isozaki chose to represent and understand his buildings at all stages of the life cycle, from monument to ruin.
1. Isozaki, Thomas Daniell in Conversation with Arata Isozaki, 4. 2. Isozaki, Japan-ness in Architecture , 81.
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PERSPECTIVE VIEW. TSUKUBA ACADEMIC NEW TOWN, C. 2121, WITHOUT INTERVENTION.
Gilles Deleuze. How does one begin to understand, let alone contend with, the relentless, compounding dominance of Tokyo’s expansion? Deleuze’s writing became a key tool I wielded in my attempt to understand the advance of Tokyo, to understand city as a network. This project is not a Deleuzian architecture. This project makes no attempt to be a Deleuzian architecture. Beware! We Drive Directly into the Sun. uses the thought processes, vocabulary and world view presented in both a thousand plateaus1 and Anti-Oedipus2 within Capitalism and Schizophrenia to inform my personal understanding of city. Deleuze is the key that unlocks my understanding of Tokyo, and guides Tsukuba down a path of regeneration.
1. Deleuze and Guattari, a thousand plateaus - Capitalism and Schizophrenia. 2. Deleuze and Guattari, Anti-Oedipus - Capitalism and Schizophrenia. Opp. Gilles Deleuze from Cover of Gilles Deleuze, Frida Beckman.
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Deleuze and Guattari, Anti-Oedipus - Capitalism and Schizophrenia, 5.
Deleuze and Guattari, a thousand plateaus - Capitalism and Schizophrenia, 46.
Super Car School, Tokyo.
Desiring Machines, Illustration by Fernando Vicente
Desiring Machines. City as a network manifests at a variety of scales. Applying desiring machine thinking to my understanding of the city, allows me to understand the connection that may exist between macro-infrastructure (a machine) and the desiring machine of human scale, us. Beware! We Drive Directly into the Sun. contends with both broader infrastructural gestures and fragments at a micro scale. This project understands the city as an array of machine and connection, an ever compounding organism that can be seen at all scales from fragment to whole.
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Rhizome. A rhizome may simplistically be understood as an ever compounding, decentralized network that is defined not by the parts that make up its whole, but the connections and flux that exist between them. This project understands Tokyo as a Rhizomatic City. In parts it seeks to become part of it. In parts it seeks to separate itself.
Mycelium Rhizome, Illustration by Richard Giblett.
Tokyo Rail Network Rhizome
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YOU MET ME AT A VERY STRANGE TIME IN MY LIFE...
Fight Club, Final Scene.
Beware! We Drive Directly into the Sun. is a direct product of my personal understanding of the city. It leverages that understanding as a tool to define what is essential about the character of Tsukuba, and to immortalize that image. What follows is a series of more programmatic steps that takes the project beyond just a presentation of my ideal city. The project seeks to present the full metamorphosis from decay to prosperity.
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Prologue. Establishing Academic Nodes. The prologue first involves understanding that the academic and research institutions are what form the center of Tsukuba’s image. With this, the prologue creates 5 ‘Academic Nodes’ across the city that elevate the key academic institutions in an effort to separate them the Rhizomatic advance of Tokyo. The structures hope to be immortal. They are a symbol of what Tsukuba is meant to be, as much as they are functional.
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AXONOMETRIC VIEW OF TSUKUBA CENTER BUILDING NODE
THE UNIVERSITY OF TSUKUBA
TSUKUBA UNIVERSITY OF TECHNOLOGY
TSUKUBA CENTER BUILDING
TSUKUBA SPACE CENTER
NATIONAL INSTITUTE OF ADVANCED INDUSTRIAL SCIENCE
The 5 Pillars of Tsukuba Academia. The immortal images of what defines Tsukuba.
Academic Focal Points - Plan
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The institutions are separated from the advance of Tokyo vertically.
Academic Nodes - Plan
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Occupying the Node. The nodes are both symbolic and functional. Alike Tsukuba itself, the institutions are devoid of function. The facades are left as monument to Tsukuba’s failed intention. The remaining space of the nodes is provided to allow the institutions to grow their function. The nodes are filled parametrically with objects that seek to promote academic growth.
Vertical Circulation
Amenity
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Void
Green space
Mechanical Rooms
Opp. Full Node Sectional Perspective
FRAGMENT ONE
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SHELL FACADE SCAFFOLDING
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Tsukuba Center Building.
Parametric Plans 1:4000 0 10 20
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100
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Tsukuba University of Technology.
Parametric Plans 1:4000 0 10 20
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100
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Tsukuba Space Center.
Parametric Plans 1:4000 0 10 20
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100
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The University of Tsukuba.
Parametric Plans 1:4000 0 10 20
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100
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The National Institute of Advanced Industrial Sciences.
Parametric Plans 1:4000 0 10 20
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100
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Whilst the parametric objects facilitate the academic function, the nodes are left for the institutions to grow within, and occupy as they see fit.
TSUKUBA CENTER BUILDING NODE FLOOR 17 VIEW TOWARDS WINDOW
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FRAGMENT 2
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FACADE VS GRID
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The nodes present a metabolist shell to the observer. Taking advantage of its grandeur. However the interior of the node is dictated by the efficiency and practicality of a modernist grid of columns.
TSUKUBA CENTER BUILDING NODE FLOOR 12 VIEW TOWARDS WINDOW
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FRAGMENT 3
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MEGA COLUMN TCB JUNCTION
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“Tokyo is hopeless... I am no longer going to consider architecture that is below meters in height... I am leaving everything below 30 meters to the others, if they think they can unravel the mess in this city, let them try” - Arata Isozaki
The prologue nodes take the same attitude Isozaki took as he develop his ‘city in the air’. The Rhizome of Tokyo cannot be contended with. Tsukuba will never compete. The crown jewels that encapsulate exactly what Tsukuba is are monumentalized, raised above 30 meters and look to defy the advance of the rhizome long into the future.
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FINAL VIEW OF TSUKUBA CENTER NODE
Tokyo Rail Network Plan
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Chapter 1. Connecting Tsukuba to the Tokyo Rhizome. The Tokyo rhizome may be best represented through its rail network. Originally conceived as an ‘automobile city’, Tsukuba is excluded. Chapter 1 connects Tsukuba to the most literal manifestation of Tokyo’s outward advance. This chapter has already begun, in 2005, the ‘Tsukuba Express’ started to bring passengers into the heart of Tsukuba from Akihabara station.
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Tsukuba Station is directly adjacent to the Tsukuba Centre Building. Chapter one adds two additional connections to the greater Tokyo Rail Network. Throughout greater Tokyo, any point of significance is defined by its central station and varied connection to primary rail arteries. For as along as Tsukuba is excluded, it is left to be swallowed by the mercy of the chaotic road network that continues to expand from Tokyo. Chapter one aims to rationalise Tsukuba as a destination.
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Tsukuba - Tokyo Network Plan
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In an effort to improve the circulation and connection within Tsukuba. An interior Rail network is built to run between the 5 academic nodes of the prologue.
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New Tsukuba Rail Network - Plan
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Existing Plan w. Nodes - 1:50’000
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.5km
1km
Chapter 2. Future Proofing the Tsukuba Grid. When it was created, Tsukuba grew out of rice paddies and livestock pastures. Its periphery was hard, and the original plan makes little consideration of its connection to greater Tokyo. What results is a plan and grid that does not allow Tsukuba to change and be reflexive to the ever evolving demands of a city. Chapter 2 is not about creating infrastructure. It provides space for it to grow.
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Michelangelo developed the pattern for Piazza di Campignalo. His intent was to unite an insufficient civic condition around the central statue Marcus Aurelius. Isozaki Applied it to the plaza of the Tsukuba Center Building. Beware! We Drive Directly into the Sun. applies it to Tsukuba.
Existing Plan w. Forum Overlay - 1:50’000
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N
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.5km
1km
The existing grid is failed. It clashes with the infrastructural growth of Tokyo, and holds back Tsukuba. Chapter 2 involves deconstructing this grid. The city is organised into 5 precincts around the nodes. With as little intervention as possible. The existing buildings are moved and rotated to create Michelangelo’s grid. What is left is a void for the infrastructure of Tokyo to grow within and connect Tsukuba. As Tsukuba develops new circulation paths of its own.
New Tsukuba Plan - 1:50’000
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N
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.5km
1km
PLAN VIEW OF EXISTING GRID SURROUNDING TSUKUBA CENTRE BUILDING NODE
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PLAN VIEW OF NEW PRECINCT THAT SURROUNDS THE TSUKUBA CENTRE BUILDING NODE
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Chapter 3. Fragment as Machine. The third and final chapter involves extending the new Tsukuba rhizome into ‘islands’ that make up the precinct. Each precinct is arranged around the node, yet what is each island arranged around? The rhizomatic infrastructural growth is clear, chapter 3 seeks to postulate what may happen when the rhizome extends into fragments. Each fragment is an independent machine at a pedestrian level. In turn, within the Tsukuba Center Building precinct machine. Within the Tsukuba city machine. Within the Tokyo City Machine.
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Chapter 3 focuses on one fragment to postulate what may happen across Tsukuba. Adjacent parkland that has grown onto Michelangelo’s pattern extends into the fragment. The buildings arrangement left void in the center, a platform is established with a statue at its epicenter. A train station is built adjacent the train line. A new connection is formed between a multistory car park and the Tsukuba bus station.
Chapter 3 Fragment Plan - 1:2’000 N 0 10 20
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SECTIONAL PERSPECTIVE 1:500
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CHAPTER 3 FRAGMENT AXONOMETRIC
Epilogue. Immortalizing Isozaki’s Influence. Beware! We Drive Directly into the sun is not a static project. It unfolds as Tokyo advances, and hopes to be reflexive to the flux of the rhizome. The epilogue aims to establish an immortal object that defines the essence of Tsukuba, and respects the advance of Tokyo through time. It plays on Isozaki’s recurrent questioning of Metabolist idealism, juxtaposing menial infrastructural objects against their Metabolist equivalent. The aim being to question whether the grandeur of metabolism comes at the sacrifice of its functionality.
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Additionally, the epilogue looks to establish a periphery for the academic nodes where they meet the existing ground plane. A chain link fence sits just outside a thick boundary object, making reference to early sketches of Isozakis’s city in the air. Which holds back Tokyo and protects the node? As you move through these boundaries, a generic sewer aqueduct plays the roll of a moat. It’s crossed by a bridge that makes reference to the circulation objects from Tange’s Plan for Tokyo. Finally, as occupants approach the Node, they ascend a platform that hopes to provide a moment of turning and reflection back upon the ideal image of Tsukuba. At whatever stage it may find itself.
Epilogue Plan - 1:2’000
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N 0 10 20
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EPILOGUE CUT-AXONOMOMETRIC
Reflection. I believe Beware! We Drive Directly into the Sun presents an image of Tsukuba that Isozaki would be proud of. It reaches a conclusion that leverages a unique understanding of ‘city’ to contend with real world failure. It is a project I am proud of. Throughout this semester I have struggled with the concept of architectural grand gesture. Not for a lack of understanding what the term means, but due to a lack of understanding why the term instills such fear and loathing into architects. I conceived this project as a grand gesture. Just as so many of the projects that inspire me most have. Corubsier’s Plan Voisin, Tanges Plan for Tokyo and Dogma’s A Field of Walls just to name a few. I am not ashamed to admit it. I have never been to Tsukuba. It is not likely that I will ever visit Tsukuba. How can this project ever exist in the realm of menial reality? This project exists in a realm of critical, philosophical thought that transcends my everyday experience of what city is. In saying that, I believe to work and think only in this realm of architectural fantasy is hedonistic and self-indulgent. When that same higher order thought is applied to a project that at least implies a path towards realistic manifestation, I see true value. I believe this distinction may be the most important lesson I have learnt throughout this studio.
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With undergraduate studies and a few years of practice experience under my belt, I feel I have an initial understanding of the practicalities involved with being a modern architect. However, what drives my continued passion for this vocation is not that. It is the grandeur of architectural fantasy that this project may initially present to you, the reader. Under the brilliant guidance of Kim Vo and Richen Jin, I hope this project is the first step in a life long journey to bridge the gap between fantasy and reality. I hope to exist in the space between these two seeming dichotomies. This project first presents the gesture, and then endeavors to bring it back to the realm of possibility. This journey started with a focus on Isozaki’s discussion of the ‘ma’, the space between. A term that has connotations of both time and place, but ultimately resists literal translation to English. In this ambiguity, the term is gifted with universal applicability. I think it is apt, then, that this project finishes just as it started. Since it’s inception Beware! We Drive Directly into the Sun understands the juxtaposition of opposing binaries as fascinating, but ultimately simplistic. This project is an inquiry into what exists between what is, and what ought to be.
Tsukuba, c. 2121. With Intervention.
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Capriccio 1 . Robert Venturi. Will this do? Formed around the central object of the Guild House, within Philadelphia, Will this do? is a product of my initial skepticism towards Venturi’s work. I perceived a lot of his motivation to be a forced antagonism to the modernists that I so admired. This capriccio takes Venturi’s iconography and ornamentation to a hyperbolic extent in an effort to understand its value. It juxtaposes these concepts against some modernist ideas of space and arrangement to contrast the ideologies and see what prevails.
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CAPRICCIO 1. WILL THIS DO?
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AXONOMETRIC. WILL THIS DO?
Capriccio 2 . Arata Isozaki. The Space Between. The first inquiry into the work of Isozaki birther my fascination with the dichotomies that seemed to define his career. Destruction and rebirth, idealism and pessimism, international-ness and Japanness. I came to understand defining Isozaki only through binaries was simplistic, he was truly a product of his life experiences, he sought to investigate the whole, the life cycle, the space between. The Space Between presents an image of a city in the midst of a metamorphosis between destruction and idealism.
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CAPRICCIO 2. THE SPACE BETWEEN.
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AXONOMETRIC. THE SPACE BETWEEN.
Folly 1. Gone but not Forgotten. “ Your civil action during your student days went unnoticed, but another vocation of yours is remembered by many, the one practiced by you then in the university bathrooms.” - La Granda Bellezza ‘The Great Beauty, Paolo Sorrentino.
Folly 1 uses the above quote as a parable for Isozaki’s complicated relationship with the idealism of the metabolists. Isozaki never felt himself a true metabolist as his idealism was dissolved by the horrors of his youth. A traditional Japanese farm house is elevated on a modernist podium. It is manipulated to include a thick masonry outer skin that holds back a core of destruction.
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Folly 1 Plan and Section - 1:200
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1
2
5
10
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CAPRICCIO AND AXONOMETRIC. GONE BUT NOT FORGOTTEN.
The fragment focuses on how the walls, traditionally rice paper, are replaced with thick masonry. A 500mm wide crack is cut into the masonry. Should an observer make the decision to push through the fissure, the decaying core of the home will be revealed.
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FOLLY 1 - FRAGMENT 3D PRINTED FOR INTERIM PRESENTATION
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Folly 2. The Age of Blossoms.
- In the Mood For Love, Wong Kar-Wai.
Taking visual inspiration from one of the most aesthetically beautiful films of all time, the second folly seeks to juxtapose two contrasting vertical forms, which define modernism and metabolism respectively. This folly is concerned with finding the space between a hyper modernism and a hyper metabolism. It plays on existing organisation and expression within the capriccio to formalise the two objects into a unified folly.
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Folly 2 Plan and Section 1:400
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5
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CAPRICCIO AND AXONOMETRIC. THE AGE OF BLOSSOMS
The fragment focuses on how the modernist grid clashes with the roof monument atop Isozaki’s New Tokyo City hall.
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FOLLY 2 - FRAGMENT 3D PRINTED FOR INTERIM PRESENTATION
Folly 3. Systematic Percept Link.
- The Cook, the Thief, His Wife & Her Lover, Peter Greenway
Inspired by Greenway’s divergent approach to film making, this folly seeks to tackle the concept of representative perception. That being the inherent issue that we cannot directly perceive a true reality, we only experience it through the lens of our own experiences. This folly understands my capriccio as an island to isozaki’s perception, or my interpretation of it, and presents a universal system to facilitate the connections between varied perspectives and realities.
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OPP. FOLLY 3 PLAN AND SECTION
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CAPRICCIO AND AXONOMETRIC. SYTEMATIC PERCEPT LINK
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FOLLY 3 - FRAGMENT 3D PRINTED FOR INTERIM PRESENTATION
Reference Materials.
Week 7 First Plan of Tsukuba Investigating the Periphery
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Week 8 First investigations into changing the city grid
Week 8 First investigations into overlaying plaza pattern
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Week 8 Initial sitings for Prologue Nodes
Week 9 Prologue Nodes initially connected.
Week 9 Initial Renders with nodes connected.
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CURRENT
Week 10 Early Sections aiming to rationalise metabolist nodes at 30 meters
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FUTURE
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Bibliography.
Venturi Barriere, Phillipe, Sylvia Lavin, Denise Scott Brown, and Robert Venturi. Interview with Denise Scott Brown and Robert Venturi. Perspecta 28 (1997): 127-45. Accessed June 6, 2021. doi:10.2307/1567197. Brown, Denise Scott, and Robert Venturi. “Interview with Denise Scott Brown and Robert Venturi: Is and Ought. Perspecta 41 (2008): 36-41. Accessed June 6, 2021. http://www.jstor. org/stable/40482310. Stierli, Martino. In the Academy’s Garden: Robert Venturi, the Grand Tour and the Revision of Modern Architecture. AA Files, no. 56 (2007): 42-55. Accessed June 6, 2021. http://www. jstor.org/stable/29544672. Venturi, Robert and Denise Scott Brown. Architecture as Signs and Systems. London: Harvard University Press. 2004. Venturi, Robert. Complexity and Contradiction in Architecture. 2nd ed. / designed by Steven Schoenfelder. The Museum of Modern Art Papers on Architecture. Museum of Modern Art, 1977.
Folly Archer, B. J., and Anthony Vidler. Follies : Architecture for the Late-Twentieth-Century Landscape. Rizzoli, 1983. Headley, Gwyn. Follies : Fabulous, Fanciful and Frivolous Buildings. New ed. National Trust, 2012
Capriccio Graves, Micheal. Capriccio - The efficiency of Spatial Narrative. 2014. Steil, Lucien. The Capriccio and Poetical Realism. 2014. Younes, Samir. The Poetic Image. 2014.
Beware! We Drive Directly into the Sun.
Aureli, Pier Vittorio, “Intangible and Concrete: Notes on Architecture and Abstraction.” Journal #64, e-flux architecture. April, 2015. Aureli, Pier Vittorio, “Platforms: Architecture and the Use of the Ground” Conditions, e-flux architecture. October, 2019. Aureli, Pier Vittorio. More and More About Less and Less: Notes Toward a History of Nonfigurative Architecture. Log, no. 16 (2009): 7-18. Aureli, Pier Vittorio. The Possibility of an Absolute Architecture. Writing Architecture Series. MIT Press, 2011. Bloom, Justin L., and Shinsuke Asano. Tsukuba Science City: Japan Tries Planned Innovation. Science 212, no. 4500 (1981): 1239-247. Daniell, Thomas, and Arata Isozaki. Arata Isozaki in Conversation with Thomas Daniell. AA Files, no. 68 (2014): 22-42. Accessed June 6, 2021. http://www.jstor.org/stable/23781453. Deleuze, Gilles and Félix Guattari. Anti-Oedipus : Capitalism and Schizophrenia. University of Minnesota Press, 1983. Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus : Capitalism and Schizophrenia. Continuum Impacts. Continuum, 2008. Futagawa, Yukio, Alessandro Mendini, and Arata Isozaki. Arata Isozaki & Associates Tsukuba Center Building, Ibaraki, Japan, 1979-83. Global Architecture: 69. A.D.A. Edita, 1993. Garner, Cathy. Viewpoint: Science Cities: Refreshing the Concept for 21 St-century Places. The Town Planning Review 77, no. 5 (2006): I-Vi. Isozaki, Arata. City Demolition Industry, Inc. The South Atlantic Quarterly 106, no. 4 (September 22, 2007): 853 Isozaki, Arata, and David B. Stewart. Japan-Ness in Architecture. 1st MIT Press pbk. ed. MIT, 2011. Isozaki, Arata. Rumor City. South Atlantic Quarterly 106, no. 4 (Fall 2007): 859–69. Jameson, Fredric. Introduction to Isozaki Arata’s “City Demolition, Inc” and Rumour City. South Atlantic Quaterly, Fall 2007. Duke University Press. 849-852. Kaijima, Momoyo. Made in Tokyo. Tokyo: Kajima Shuppankai, 2001. Koolhaas, Rem and Hans Ulrich Obrist. Project Japan - Metabolism Talks... Taschen, 2011. 2451. Lambert, Bruce Henry. Building Innovative Communities: Lessons from Japans Science City Projects. European Institute of Japanese Studies, 2000. Petit, Emmanuel. Incubation and Decay: Arata Isozaki’s Architectural Poetics - Metabolism’s Dialogical “Other”. Perspecta 40 (2008): 152-63. Accessed June 6, 2021. http://www.jstor. org/stable/40482293. Takahashi, Nobuo. A New Concept in Building: Tsukuba Academic New Town. Ekistics 48, no. 289 (1981): 302-06. Trummer, Peter. The City as an Object: Thoughts on The Form of the City. Log, no. 27 (2013): 51-57. William O. Gardner. 2 - Ruined Cities: Isozaki Arata and Komatsu Sakyō. In The Metabolist Imagination : Visions of the City in Postwar Japanese Architecture and Science Fiction. University of Minnesota Press, 2020.
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Acknowledgments. Firstly, thanks to Kim and Jin for putting on a challenging, inspiring and fun studio. I came to Melbourne to engage in learning just like this, and it has been a brilliant first semester. This project would be nothing without your guidance. Thank you to my housemates Amanda, Daniel and Francis for brainstorming at the start of semester, and providing much needed respite from study towards the end. Finally, thank you to my partner Jas for managing to support me all the way through, all the way from Sydney.
Beware! We Drive Directly into the Sun. Thank you. Project by Jack Fountain
jackfountain11@gmail.com @jack.fountain