City of Amusement by Kim Võ

RACHEL DASH 914963 CAPRI, FOLLY, CITY STUDIO 22 KIM VO & RICHEN JIN

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TABLE OF CONTENT Prologue

City

Shinjuku

Site Project

Reflection

City of Amusement Project

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Epilogue Appendix 1: Capriccio + Folly

Appendix 2: Diary

Bibliography

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prologue.

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Shinjuku Special ward of Tokyo, Japan The chosen site Shinjuku is located in Japan and is one of the twenty-three wards in the capital. It is the location for architect Arata Isozaki’s New Tokyo Town Hall which is a significant influence on this project. The city, originally established as Naitō-Shinjuku in 1634 in the period of the Edo, began as a prominent rest-stop between established towns, where it quickly grew into a centre of both pleasure and business. Today, Shinjuku is a large entertainment, business and shopping district, and is the administrative centre of Tokyo. Shinjuku is the perfect example of blending enjoyment with business, and pleasure with manufacturing. The dynamic contrast of this combination has remained over the centuries within the urban fabric of Shinjuku. Shinjuku Station generates an influx of people, who, in turn, boost the market for pleasure, goods and services.

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Shinjuku Shinjuku Gyoen National Garden Shinjuku Gyoen is a prominent park in the centre of the city, located near the business hub of Shinjuku Station. Originally a place of residence for the Naitō family during the Edo period, it was established as a pleasure garden. A pleasure garden was traditionally a 17th or 18th century public garden open for recreation or entertainment. It differs to a traditional park, as it often includes various attractions such as zoos, festivals, rides, and pavilions. 5

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New Tokyo Town Hall Arata Isozaki

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Reflection City of Amusement “The most important thing an artist can do is confront society with something it has never seen before, something in a sense improper.” "Business" and "Marketplace" described the commercial functions of the city of Shinjuku, and a little else. Its truly unique qualities come from the deeply human characteristics embedded within the urban fabric of the city; where its true nature can be found. Shinjuku is the backdrop of the day-to-day cadence of the modern Japanese life. Situated between places of production and residence, its current-day programs are a reflection of the past, a true centre of place, where humans can satisfy needs of play and work. The City of Amusement is a reflection of the city of the current day Shinjuku, proposing a reinterpretation of the city’s business zone into a place of amusement, forming a new reinterpretation of the “park” in the city’s central garden. The City as an Amusement aims to create an industrialized zone within Gyoen Park that combines recreation with manufacturing, into a space of amusement, creating a hybrid typology. The park is divided into three main forms, or fragments, titled Stages of Production. “Design”, a place for design and planning products, “testing”, a place for testing and trailing products, and “Manufacturing”, a place for production and assembly.

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The functional programming of the site was influenced by Isozaki’s New Tokyo Town Hall, and Bernard Tschumi’s Parc De La Villette. Arata Isozaki’s New Tokyo Town Hall was often described as “a city within a city” due to its monumentality. Its form and formal planning were used to influence the new Amusement City, which was established by using a grid of planes, surfaces, and points. By using a similar ‘Rhizome’ planning model, which is derived by organising horizontal and vertical forms into three-dimensional grids, a new city was born, combining pleasure and manufacturing; a reflection of the city it inhabits. Similarly, Bernard Tschumi’s Parc De La Villette has been described as “place of culture where natural and artificial are forced together into a state of constant reconfiguration and discovery.” The presence of a new hybrid typology that combines the traditional forms of a typical amusement arrangement, with a new function, creates a new classification of pleasure and business within Shinjuku. A reﬂection of the city, within the city. 11

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“The most important thing an artist can do is confront society with something it has never seen before, something in a sense improper.”

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Arata Isozaki

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Parc De La Villette Bernard Tschumi

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city.

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Overlay of Grid

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city of amusement.

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“View from the Sky”

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“View from South Goyen”

“Figure 1: Design”

“Figure 2: Test

“Figure 2: Manufacture

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“View from top of Water Mill Stamping Battery”

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“View from Distribution Belt”

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“View from above ”

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City of Amusement

Appendix 1 Capriccio 1 & 2 Folly 1, 2, & 3

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EPILOGUE

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capriccio.

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Capriccio the Rialto Bridge and the St Giorgio Maggiore Canaletto, 1750

John Hejduk Ritual and Rejuvenation The concept of this Capriccio is ritual and rejuvenation, where Venice is a city of civic ritual and restoration. The expressive forms, nestled into the heart of the city, and its surrounding rich Italian Gothic architecture, challenges the viewer to leave preexisting ideals of the city behind, and forget formal functional techniques, in place of radical forms with intense symbolism. The three projects of Hedjuk span years apart, over the course of his lifetime, and represent the use of metaphor in each project, where in the location of the city provoke poetics of form and space. Similarly, to the precedent capriccio, which shows the visual hierarchy between the Church and the city, the Church of San Giorgio Maggiore has been replaced by Hejduk’s Model of a Cathedral, where the program of the city becomes allegorical – interpreting architecture as situational and symbolic.

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The biomorphic forms show how buildings almost resemble sculptures over the architecture that was being produced at this time. The watchtowers offer a foreboding authority over the canal, an ominous presence watching over the city below. The city of Venice is renowned for its pageantry and sense of ceremony, and it is the jux-ta-pos-ition of Italian renaissance and Hejduk’s post-modernist forms that blend together to create something new, a rejuvenation of the city, one where everyday ritual and traditions are further reflected in building facades. 29

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Capriccio 1 Perspective

Capriccio 1 Axonometric

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Capriccio of a Renaisance Triumphal Arch Canaletto, 1755

Arata Isozaki Metamorphosis of a City My second Capriccio is set in the city of Shinjuku and includes three projects of Arata Isozaki including “Shinjuku New Tokyo Town Hall” “Gunma Museum of Fine Art” and “West Japan General Exhibition Center”. This interior precedent was chosen to show an interior perspective of the metamorphosis of the city. This perspective is taken from the interior of the unbuilt project New Tokyo town hall to display “a city within a city” through interiorizing large part of the city and explores the relationship between human beings and the constructed environment. The new Tokyo city hall is a quiet a colossal structure, a 23-story low-rise design - embracing the idea of intensity – where the town hall envisions the western architectural ideal of the “City hall” – the face of the city. As the defined seat of power Shinjuku, it embodies same attitude and motion of this lifestyle. Focusing on the idea of metamorphosis, by interiorizing a part of the city within the townhall and beyond – it creates a powerful intensity and becomes a metropolis within itself.

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The town hall is not just a reflection of the metropolis, it frames it. Implying that the city, as well as its structures, not just contain living inhabitants but are living organisms that develop and grow together. Along the horizon of the city is the West Japan General Exhibition Centre which was used an extension of the city, where the imagery is a reflection of the idea of metamorphosis, where they look like a canopy continually growing and stretching like roots. The final building represents the idea of indeterminate “growing architecture”. It was inspired by the human skeletal system, and designed to provide an open-ended structure for growth, where architecture is a reflection of its inhabitants, and its inhabitants a reflection of its city. 31

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Capriccio 2 Perspective

Capriccio 2 Axonometric

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folly.

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Folly 1. The Paradox of Perfection

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“A more miserable life is better... believe me... than an existance protected by an orgaised society... where everything is calculated.. where everything is perfect” Fellini, 1962, La Dolce Vita (A Miserable Life)

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Folly 1. The Paradox of Perfection This first Folly was created around the idea of “perfection”. What is a “perfect” piece of architecture? And what is the “perfect” idea of architecture? As this Folly was based around personal experience, “perfection” in relation to architecture to me is something that is organized, precise, and meaningful. However, it the context of the city, The idea of “perfection” is a paradox – it does not exist. This is because everyone’s ideal of perfection is different, it is influenced by specific experiences, journeys, and life – each of which are personal and individual.

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When creating this Folly, it drew me back to the idea of the original piece of architecture. Based on Semper’s Primitive Hut, this folly embodies the idea of the beginning of architecture. The structure is left bare to represent the promise of the future, where this simple form has the possibility to become anything. Placed inside the metropolis that is the New Tokyo Town Hall, it acts as an enclosure within a city within a city. 35

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Folly 1 Perspective

Folly 1 Axonometric

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Folly 1 Plan

Folly 1 Section

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Folly 1 Fragment

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Folly 2. Metamorphosis of Space

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“Then change.” “Change?” “I have changed.” “I don’t mean on the outside, change on the inside!” April Rain, One is Glad to be of Service

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Folly 2. Metamorphosis of Space The second folly, titled “Metamorphosis Of Space” is based on the quote by April Rain, ““Then change. Change? I have changed. I don't mean on the outside, change on the inside!” This Folly is made up of a variation of different cubes, forms taken from Isozaki’s foundations from the Museum of Fine Art and Town Hall, where each form is slightly altered, vaguely changing the interior forms using geometric additions Every square is able to work individually and be an extension of each other. Each square is unique, and slightly evolves in its own way as you reach the top of the building, where eventually the spaces and the walls that were originally hollow at ground floor, are made up of individually squares, letting in small pieces of light

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Towards the higher floors, less light is let in signifying the space evolving from the structure of the building, to a fully enclosed “completed” rooms Each square although unique on the interior, from the exterior it looks the same, where interior of the squares to reflect the change; taken literally from the quote “change on the inside” The folly exists in the Metabolist style, as the Metabolist movement is a movement of change, where it fused together ideas of organic biological growth in architecture. Situated In the city of Shinjuku, surrounded by Isozaki’s architecture. It is a reflection of the city, and the ever-changing metamorphosis of the city. There are extruding columns at the top and ground floor, significance the potential for new growth is endless. It is a new promise of change and growth in a fast-driven society. 40

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Folly 2 Perspective

Folly 2 Axonometric

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Folly 1 Plan

Folly 1 Section

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Folly 1 Fragment

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Folly 3. Controlled Manipulation

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“…and I think it’s because somewhere along the lines, movies were making so much money, that they decided there was a way to guarantee they would make that amount of money, by manipulating material inside the movie.” - Kenneth Lonergan On the emotional insincerity of the Hollywood product

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Folly 3. Controlled Manipulation

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My Folly focuses on the idea of manipulation, through the idea of manipulation of a building to the point of non-existence –leaving a “façade” with no substance behind it • By falsifying the architecture – or structure of structure behind the façade – there is the opportunity to create a false frontage. From the Capriccio perspective, the Folly appears to be complete, a row of brutalist buildings which are characterised by minimalist constructions that showcase the bare building materials and structural elements over decorative design. However from the axo, it shows you behind the curtain, reminiscent of a Hollywood set, a falsified façade or a simple billboard • It shows architecture as a platform for evolving technologies 45

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Folly 3 Perspective

Folly 3 Axonometric

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Folly 3 Plan

Folly 3 Section

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Folly 3 Fragment

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Appendix 2 Diary

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EPILOGUE

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Bibliography CONLIN, JONATHAN, ed. The Pleasure Garden, from Vauxhall to Coney Island. University of Pennsylvania Press, 2013. http://www.jstor.org/stable/j.ctt3f hhf3. CORKERY, LINDA FRITZ. “Variations on a Theme Park.” Landscape Australia 8, no. 4 (1986): 327–37. http://www.jstor.org/stable/45164793. Dwyre, Cathryn, Chris Perry, and Bernard Tschumi. “Architecture Beyond Architecture.” PAJ: A Journal of Performance and Art 37, no. 1 (2015): 8–15. https://www.jstor.org/stable/26386736. Ichikawa, Hiroo. “The Evolutionary Process of Urban Form in Edo/Tokyo to 1900.” The Town Planning Review 65, no. 2 (1994): 179–96. http://www.jstor.org/stable/40113289. Isozaki, Arata, and David B. Stewart. 2006. Japan-ness in architecture. Cambridge, Mass: MIT Press. Khan, Omar, Dorita Hannah, and Bernard Tschumi. “Performance/Architecture: An Interview with Bernard Tschumi.” Journal of Architectural Education (1984-) 61, no. 4 (2008): 52–58. http://www.jstor.org/stable/40480866. King, Margaret J. “THE THEME PARK: Aspects of Experience in a Four-Dimensional Landscape.” Material Culture 34, no. 2 (2002): 1–15. http://www.jstor.org/stable/29764155. Mccarthy, John. 2014. “Fashion, Thrills, and Public Displays in the Garden, Book Review: The Pleasure Garden, from Vauxhall To...” ResearchGate. Taylor & Francis (Routledge). 2014. https://www.researchgate.net/publication/281969399_Fashion_Thrills_and_Public_Displays_in_the_Garden_Book_Review_The_Pleasure_Garden_from_Vau xhall_to_Coney_Island_Jonathan_Conli. Ōta, Hirotarō, ed. Traditional Japanese Architecture and Gardens. Yokohama, Japan: Kokusai Bunka Shinkokai, 1972. Stewart, David B. The Making of a Modern Japanese Architecture, 1868 to the Present. Tokyo and New York: Kodansha International, 1987. Tschumi, Bernard. “On the Museum of the Twenty-First Century: An Homage to Italo Calvino’s ‘Invisible Cities.’” Daedalus 128, no. 3 (1999): 333–37. http://www.jstor.org/stable/20027579.

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Williams, Rebecca. Theme Park Fandom: Spatial Transmedia, Materiality and Participatory Cultures. Amsterdam University Press, 2020. https://doi.org/10.2307/j.ctvw1d4g3. Winburn, William. “THE 21ST-CENTURY PARK AND THE CONTEMPORARY CITY.” Landscape Architecture 99, no. 9 (2009): 56–65. http://www.jstor.org/stable/44794274. Woods, Tim. “Postmodern Architecture and Concepts of Space.” In Beginning Postmodernism. By Tim Woods, 89–123. Manchester, UK: Manchester University Press, 1999.