despite being 24 years old, this Yokohama district located Minato Mirai Mall rocks.
Coming back to Japan and wanted to swim on along distance I went to the Tokyo Gymnasium who host a fantastic, open to all, 50 metre long swimming pool, clean and perfect as you may expect. (it is Sendagaya station for those interested)
Unfortunately the second time, was on Tuesday, and not checking the days off, I found it there. Strolling around the Gymnasium a creepy view was in the horizon, just behind the beautiful dome of the pool (designed by F.Maki by the way).
if you recall the second competition, won by K.Kuma associated with Taisei Corporation and if I recall well Azuma architects, you may remember nice images full of wood an green. That is decoration, design intent. What is the core of the stadium you are seeing this picture: steel and concrete, and what else would might be?
Finding that architect Maki designed the Gymnasium to me it is a reason more to understand why he was chief leader against the original winner project for the new Olympic stadium since your design would be outlaw by the new wave. The funny thing abou that is that always those who were at the beginning of their career the most unbiased it turn out to be the most conservative as the times passes to become a caricature of their own lost value.
A link of some “fantastic” they lost to give some money to the Steel and Concrete Japanese construction base moloch companies.
I discovered this interview with Yona Friedman, and he tell his story that has some links with the book of Arata Isozaki, a historical connection with the dutch Hertzenberger. and some affinities with contemporary postmodernism freedom. Overall is a good way to contextualize the few incipits . and why they were few, that Japanese centralized system had to carry on until 1965, and their future conquered adult architecture life.
A 37 minute interview, slow pace, with a difficult English accent, beside that it is really Amazing. I am sorry if you cannot get the relationship, it is not explicit, you have to know some of the History behind it to get it. It goes into the Japanese debate about National Architecture, their stubborness, the metabolistes. How Tange recognized his influences. This come almost last in the video interview below.
At the end one should explain why the Australian Mercutt got a Pritzker Prize and not this guy, just because he does not speak with a good English accent? Cheers.
I just got a bicycle. Nice new way to find interesting works here and there, where you have not any clue about them it is really surprising, and exciting. This is the sort of things you are expecting from Japan and not likely from other countries I guess.
This was on my way to a local library. It turned out to be an awarded architect with some reputation in Japan, not so much abroad.
Here his career on wikipedia. Mr. Aaron Betsky dedicated an article on him “The other Japanese Architecture”, here. and also a monography you can find online. The official architect website, here. Although it does not have an english version it has voices in double version Continue reading
This is more than a review, it is an strong suggestion. This book was introduced to me by prof.Stewart, during his MOOC class about Modern Japanese Architecture, and it is astonishing beautiful.
Authors are Teiji Itoh & Yukio Futagawa, published back in 1969, by Tankosha.
Why pointing out this book? Let me cite a passage from it, pg 107.
“It may be well to summarize here the achievements of the sukiya style that particularly enabled it to play a role in the transition to modern styles. In the first place, it began as a strongly individualistic style and was, as he have seen, the only style of Japanese architecture that develop a nomenclature based on the names of its designers – that is, the konomi which has been discussed in an earlier chapter. In the second place, the sukiya is the only style in the history of Japanese architecture that transcended the boundaries of social class, for it was applied to the houses of townsmen and the villas of the aristocracy alike and to such public buildings as restaurants and inns. In the third place, the sukiya-style building, both in its harmony of structure and in its emphasis on the natural beauty of its materials, originated a code of values that endures even today.”
I bolded the part that is indisputably holds true, since when it comes to easthetics, the core values differs from culture to culture, and grasping the japanese ones is essential to understand their realization within the Architecture field.
Continuing my series of readings with the intent to give it a bit of body, I suggest this book. It is has been published in 2008 by Phaidon Press.
The writer, says the back cover, teaches at University of Illinois(here) . Every time, you take a book that says New …something and it is dated says 10 years ago, you already knows that , at his best, it can give you some hindsight of what is happening now.
The great merit of this book it is in its short essay.
Mr. Bognar explained very well to me, the crazyness of the bubble era to which, until I read this book, I just heard about but I did not realize exactly how it was.
When he describes the real building of architect Masaharu Takasaki, Crystal Light guest House, built in 1986 and demolished in 1989…it says a lot about the folie/madness of the Bubble and he also explains why. My question, of course, arise: are we heading toward another bubble? Olympic itself is triggering it? Those are not in the book, they are my personal doubts about he current situation while stock market is rocketing…instead the book is composed by 4 sections:
1 – Introduction
2- The bubble years – The epitome of Japanese Postmodernism
3 – After the bubble – New Realities, new priorities
4- Beyond the bubble ‐The Architects
The first three sections are terrific. They are well documented and well explained and if you think that one of the most venerate architects, mr Toyo Ito, has Taichung Metropolitan Opera （Taiwan) mentioned and illustrated, when in reality the construction just finished last year, you have the idea that even if it is written before 2008 it is not yet a dated book.
At the end of the third section he write a paragraph called lightly “Assessing the future – in lieu of a Conclusion” when it reports words from a philosopher Koji Taki, that basically does not suprise.
The 4th section is a commented Gallery, closer to a well illustrated magazine that sports works from 18 Architects studio such as:
Tele-Design, Koji Yagi, Kazunari Sakamoto, Atelier Bow-Wow, Kazuyo Sejima, Shigeru Ban, Waro Kishi, Nikken Sekkei Ltd, SANAA, Jun Aoki, Ryoji Suzuki, Yasumitsu Matsunaga, Riken Yamamoto, Obayashi Corporation, Yoshio Taniguchi, Kengo Kuma, Tadao Ando, Toyo Ito.
If you do not know half of those people than the book it may worth the acquire or if you like architecture large pictures as well. The proposed works are also well explained in their main features. One merit of the book also is to mention some foreigners who are working in Tokyo competing within the tight market.
I thought for a while how to address the issue and I decided of approaching it with my experience, first.
The fact , for those who read this blog from abroad, is big. A 5 year old kid died during Design Week 2016 in a fire, triggered in a University Student Pavilion composition
The picture below show the stand two days before the accident.
…when I first saw it I had immediately the feeling of danger. Professional feeling, developed during my whole life. On other pavilions this year I had the same sixth sense warning. There was womb-like pavilion, dark, and without an easy way out, very uncomfortable to be inside. Another one was
plenty of plastic balls, spinning around, nice…but safety prevention? none!
This is the object of this post.
When you are Architect, Designer, student you are interested in creating new things, smart, cool, effective, terrific, impressive…but you are not pushed to pursue safety. It is not requested to you.
This year tragedy may turn all the internet buzz and cool stuffs pictures a bit more toward the healthy process of designing safety “pavilions”. According my wife opinion, Tokyo Design Week risks to be cancelled forever.
To my knowledge, Japan is plenty of safeguard rules and warnings. There is a general good awareness of the risks, and for sure much higher than other countries, probably Italy included. Let`s think about earthquakes and tsunamis, and it is easy to see they are on regular basis been considered all along Japan history.
This situation is, despite that, not be well analyzed. TDW is a temporary exhibition, thus it has not to follow the strict rules of a real estate developer. It is easy to understand to why. In Japan a normal developer of a building has to be organized in a way that construction risks are assessed by experience and consolidate workings on site, rules a part. Usually it is a developer – one big company – that take cares of all.
In Europe is different, big developer are not the main market in the building construction. They represent a small fraction of it. A construction site, even a small one of a one family house would host at least a dozen of different sector enterprises: from the excavation land, to the roof assemblers trough plumbers, electrician, painters and so on. All are different company with different contracts. Everybody knows his own works but knows barely anything about the other. That is why it has been created the role of Safety Coordinator.]
That was my role for several years back in Italy. Somebody who can oversee and forecast the risk of the site. Also during the construction phase, which are the most dangerous, he has to be onsite on regular basis to check if everything is following the right path or not and take actions in case something is not going well.
Among his/her duties, risk assessment are the foundations of the job. I guess the TDW organization has not got any professional doing this job either because it is not request by the Japanese Law or either because they did not assessed the risk.