Materiality in Japan

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MICHAEL CARROLL M.ARCH II SYRACUSE UNIVERSITY ABROAD PROGRAM_JAPAN 2011 JAPAN-NESS + MATERIALITY -NESS + IALITY

description

SU Abroad Japan tour of Japan in the Spring of 2012

Transcript of Materiality in Japan

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MICHAEL CARROLL M.ARCH II

SYRACUSE UNIVERSITY ABROAD PROGRAM_JAPAN 2011

JAPAN-NESS + MATERIALITY

JAPAN-NESS + MATERIALITY

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JAPAN-NESS + MATERIALITY

It was an honor to create a six-credit course for SU Abroad Japan with Professor Anne Munly of Syracuse University School of Architecture and travel to Japan in May and June of 2011, with eight students of Syracuse Architecture that included: Leslie Baz, Stephanie Billovits, Pedro Dorta, McNisky Jeantus, Matthew Kiwior, Francis McCloskey Lopez, Justin Ostrander and Taskina Tareen.

Our 2011 Spring Tour of Japan was even more poignant than the previous tour in 2009, as our Japanese hosts welcomed us in the wake of the 2011 Tohoku Earthquake that had on numerous occassions made us re-consider our trip to Japan. As agreed upon with Syracuse University, our plans to visit Tokyo were curtailed, in favor of cities south of the capital. In the end, the 2011 SU Abroad Japan Tour which took place between May 17th – June 13th, 2011 included, Kyoto, Osaka, Naoshima Island, Taskina Island, Hiroshima, Fukuoka and Nagasaki.

I would like to acknowledge the support of Syracuse Architecture, in particular Dean Mark Robbins and Associate Dean Randall Korman, as well as, the incredible dedication of SU Abroad, in particular Tracy Zappola, Assistant Director of Summer Programs. It was a privledge, to travel for a second time to Japan with Professor Anne Munly and enjoy at the end of each day a Sapporo and a delicious sampling of the regional cuisine (that on more than one occassion included Western food, that only the Japanese, in true form, have truly mastered).

Bg�m^kfl�h_�ma^�Zk\abm^\mnkZe�h_Û\^l�maZm�p^�oblbm^]%�B�phne]�ebd^�mh�maZgd�bg�particular, Kiyoshi Sey Takeyama of AMORPHE Takeyama & Associates Architectural Design in Kyoto, Japan, who has been an equisite host since my initial visit to Japan in 2005. Peter Boronski of atelier BORONSKI, also based in Kyoto, gave generously of his time and made an special effort to organize a tour of his project, the T-House. We would also like to thank, Thomas Daniell, who once again, offered his insights on Japanese architectural culture _khf�abl�ngbjn^��hnmlb]^k��i^kli^\mbo^'

Michael Carroll, Assistant Professor, SP_ARC (Atlanta) March 2012

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JAPAN-NESS + MATERIALITYCZiZg�l�bgÜn^g\^�pbmabg�Zk\abm^\mnk^�Zg]�]^lb`g�aZl�[^^g�ikh_hng]�Zg]�lnlmZbg^]'�Mabl�\hnkl^%�

Materiality in Japanese Architecture, offers a critical survey of both traditional and contemporary CZiZg^l^�Zk\abm^\mnk^%�nmbebsbg`�:kZmZ�BlhsZdb�l�CZiZg&g^ll�bg�:k\abm^\mnk^��Zl�Z�e^gl�makhn`a�pab\a�mh�ob^p�ma^�\hngmkr�l�\nemnkZe�Zg]�nk[Zg�eZg]l\Zi^l'�?khf�L:G::�mh�RZfZfhmh%�CZiZg^l^�architectural, industrial and clothing design continues to offer lessons in realm of materiality. Contemporary design sensibilities continue to embrace notions of impermance and imperfection that are nested within the Japanese concept of wabi-sabi. Centered upon the notion of materiality and its increased importance within the theoretical underpinnings of contemporary architectural design, this course was highly invested in the experiential and phenomenal qualities of projects designed by such architects as Tadao Ando, SANAA, Waro Kishi and Hiroshi Hara. The on-site ^qi^kb^g\^�pZl�iZbk^]�pbma�\kbmb\Ze�k^Z]bg`l%�\eZllkhhf�]^[Zm^l�Zg]�h_Û\^�oblbml(]bl\nllbhgl�pbma�renowned architects, in order to advance the research work of the class that has resulted in this complilation of student work that documented our travels, observations and insights of Japan in

CONTRIBUTORS:

LESLIE BAZSTEPHANIE BILLOVITS

PEDRO DORTAMcNISKY JEANTUSMATTHEW KIWIOR

FRANCIS McCLOSKEY LOPEZJUSTIN OSTRANDER

TASKINA TAREEN

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LESLIE BAZ Mexico City, MexicoClass of 2015 Syracuse Architecture

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COLORsaturated in natural light

Nexus ll HousingDesigned by Mark Mack ArchitectsOpened in 1991Fukuoka

Photographs by Lesllie Baz

Through multi-palatted rectangular forms, both in concrete, wood panelling, and linoleum tiles, the colorful interior and the outdoor garden expand the space.

Lobby

June 10th 201112:00 pm

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Stairway

Overcast weather

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i. Sotokoshikake, Waiting room

ii. i.

ii. Shoin, Main Villa

STONE BASES

Katsura Imperial VillaKyoto

Photographs by Leslie Baz

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The angled surface of the stone base (above) reciprocates the pagoda form of the sanmon. The stone base and the post and beam structure it supports both represent Imperial power in their largeness. In the Katsura Imperial Villa, stone bases matches the rough bark of the cypress pillars of the Sotokoshikake, givingprominence to organic forms. Flat faced stones coincide with the wooden screens of the Shoin.

Sanmon,Main Gate

May 19th 20112:00 pm

Nanzenji TempleKyoto

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From a distance, a grey coloration in materials extends to the beach from the terrace restaurant. Upon closer inspection, a combination of wood and concrete are used. Wood panelling in varying shades of brown distinguishses the two materials, and grey, weather worn wood imitates the wide concrete platform in response to the surrounding sea.

Benesse Art Site Designed by Tadao AndoOpened in 1992Naoshima Island

REFLECTION AND TRANSLUCENCE on horizontal and vertical surfaces

Photographs by Leslie Baz

Photograph by Michael Carroll

Photograph byMIchael Carroll

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Park

June 1st 201112:00 pm

The gradation of light prepares the eye to view small inner gardens open to the sky. Tall windows that diffuse light from garden areas are found throughout the museum to produce beams of light. The visitors are lead through the underground art gallery like a boat in search of a lighthouse by the shore.

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The skeleton of the building, its narrow staircase, is exposed, as the concrete walls carve a narrow void space that descends below the street level of this commerical space. Steel railing defines the edge between the ascending spaces and the carved, void space below. The striation from the railing continues on to the steel framed ceiling, the main light source.

DIRECT LIGHT SOURCES

GALLERIA [akka]Designed by Tadao AndoOpened in 1987Osaka

Photographs by Leslie Baz

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STEPHANIE BILLOVITS Midland, MichiganClass of 2014 Syracuse Architecture

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Page 24: Materiality in Japan
Page 25: Materiality in Japan

PEDRO DORTASan Juan, Puerto RicoClass of 2014 Syracuse Architecture

Page 26: Materiality in Japan

������� ����� ���"���� ��� ��!�������������������"!�����"���

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Page 27: Materiality in Japan
Page 28: Materiality in Japan

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�������� � !�������������" ������! ���#�!�� �����%!���������!�������� !����"���������!������� ����������������!��&���������� ������! ���& ����������!��� ���" ���! �������" � "�������!&����������!���!�����"���������!����� ������� !������$ ��"!���������!���������!� & !������������� �������&���!�������&�����! �!�!���!����� �� ���������&������������ !�"�!�������!����������!�%!"��������! �!��������������!��� �����#��&� �������!��!������������!�%!"������$����������� �$������ ���!�����������!������������� �$������!��$��� �!����"!������! ��!����������� �����! ��"!������! ��������������! ����������! �$�����$��!���" � ����"�������� !��������� !�"�!����� �������� !����������� !�"�!"�� ������� !���� ��$�����&�"������!��� !����� !� !�!����� !�� �

Page 30: Materiality in Japan
Page 31: Materiality in Japan

6/1/2011_3:36pm

5/31/2011_3:32pm

����������������!��������� ������������������������������!��������������!��������������������� ������������������������������� ��������!���������������������������������������������������������!� ��������������������������!��������������������������������������������������!������������ ��������������������������������������������� ������������������������������������������� ������ ����������!���������� ����������������������������������������������!��������������������������������������������������������������������������� !������������������������ ���������������������������������������������������������������������� ������������ ����������������������������������������� ������������������� ����������������������������������������������������� �������������!�����������������������������!�������������������������������������� ������������ �����������������������!���������������������

5/31/2011_2:49pm

Page 32: Materiality in Japan
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The Nagasaki Peace Memorial Hall was designed by Akira Kuryu and con-structed in 2001. The Memorial Hall con-sists of three basic elements: wood, translucent glass, and concrete. The way in which these materials are used is as follows: concrete is mainly used as a shell. It also makes up most of the inte-rior of the Memorial Hall, however it be-comes more aesthetic when it is con-trasted against the wood !nishes and the glass columns located in the inside. There is also a play between these three elements for at some point they switch roles. This is because some parts of the concrete are clearly marked by the wood that was used to create the shape of it, thus leading it to resembles a much lighter material. Glass, on the other hand, is then used to create these massive glass columns that seem to hold up the entire project thus allowing glass to play as a much sturdier material.

Page 34: Materiality in Japan
Page 35: Materiality in Japan

McNISKY JEANTUS Maplewood, New Jersey and HaitiClass of 2014 Syracuse Architecture

Page 36: Materiality in Japan
Page 37: Materiality in Japan

The tallest building in Osaka, the Um-eda Sky Building was designed by Hiro-shi Hara. One of its main features is the -SVH[PUN�.HYKLU�6IZLY]H[VY`�[OH[�ÅVH[Z�between the two towers that make up the building. Once atop, I was graciously granted a 360 view of the city.

Lover�s Seat on top of Umeda Sky Building

Close up of “Fence of Vows”9:34 PM on 5.26.2011Umeda Sky Building

Source: Bing Maps

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The tallest building in Osaka, the Um-eda Sky Building was designed by Hiro-shi Hara. One of its main features is the -SVH[PUN�.HYKLU�6IZLY]H[VY`�[OH[�ÅVH[Z�between the two towers that make up the building. Once atop, I was graciously granted a 360 view of the city.

Lover�s Seat on top of Umeda Sky Building

Close up of “Fence of Vows”9:34 PM on 5.26.2011Umeda Sky Building

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PHENOMENAL CONCRETEAlmost halfway on our bike ride to the Teshima Art Museum, I stopped when I saw that the group ahead of me was off their bikes and peering into the distance. Following suit, I was DEOH�WR�FRQÀUP�ZKDW�,�VXEFRQVFLRXVO\�ZDV�DOUHDG\�VHHLQJ��Designed by Ryue Nishizawa in collaboration with Rei Naito, the Teshima Art Museum lay in the distant landscape like a puddle of scooped ice cream. When I later received my ad-mission ticket, I was slightly confused as to where to go. The path of entry was made of the same pristine white concrete as the museum, but it seemed to be leading me away from it. A couple minutes expired and the path curved into a clear-ing where the calm silence was only broken by the swaying leaves and the seldom clicking of cameras. At the entry, nos-talgia set in as I saw the patrons ahead removing their foot-wear. Recalling the protocol of James Turrell�s “Open Field” at the Chichu Art Museum, I could already anticipate what lovely witchcraft awaited me inside.

Teshima Art Museum at 5 kilometers

Path leading up to entrance apx. 150 m

Entrance

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12:27 am 06/01/11

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Page 39: Materiality in Japan

The idea of a sculpted landscape is even car-ried through the construction process. A sculp-ture “blanket mold” technique is used to form the shell over a mound of dirt with a smooth sheet of plastic. Differing from a typical blanket mold the initial positive space is removed leav-LQJ�WKH�PROG�DV�WKH�ÀQLVK�SURGXFW��

Upon entry I can�t help but feel overwhelmed ZLWK�VHUHQLW\��)HHOLQJ�RXW�WKH�VSDFH��DW�ÀUVW�ZLWK�my eyes, I notice that the concrete shell is one continuous surface given presence by light and shadow. The absence of hard lines makes the space looks even bigger. The light let in through the two apertures in the roof look like spot-OLJKWV��PDGH�EULJKW�E\�WKH�UHÁHFWLRQ�RI�WKH�ZKLWH�concrete. Its� hard smooth surface carries the ÀQJHU�VQDSSLQJ�RI�3HGUR��DQG�ODWHU�WKXQGHU�LQ�the sky all the way across the space.

Naito�s water instillation “Matrix” certainly stole P\�DWWHQWLRQ�ZKHQ�,�ÀUVW�HQFRXQWHUHG�LW�IURP�WKH�corner of my eye. I barely caught it leaking up-wards from the ground and watched as the con-cretes� hydrophobic surface contained it from dispersing at the will of gravity. I soon joined the groups of people who watched in silence. The water seemed possessed by confusion, spo-UDGLFDOO\�VOLWKHULQJ�DFURVV�WKH�ÁRRU�DV�ZLQG�IHOO�into the space. so

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White concrete 25cm thick (reinforced)

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Page 40: Materiality in Japan

Base Image: Transition into Shokintei taken at 2:29 on 5/20/11

Granite Paving Tamaishi Weathered Japanese Cypress

Common coble found in Japanese gardens. Generally 15-30 cm in diameter, these stones are made smooth and round by river water erosion

THRESHOLD OF MATERIALSUpon entering the grounds of Katsura, I was hard for me to differentiate it from a lot of the imperial dwelling/garden projects we had visited in Kyoto. The pictur-esque landscape was undeniably beautiful, but my unfamiliarity with the Japa-nese concept of landscape, made it easy to assume that the garden was found, then the villa and surrounding teahouses were constructed within it. As the hedg-es led me across the stepped bridge, I began to key in on how the whole complex was an orchestration of relationships and rituals. From the teahouses to the main house, the path that leads inside the space was very telling of Japanese ideals and use of materials. As approaching the Shokintei of Katsura, I begin to notice how nature didn�t limit itself to the garden. Japanese cedar and pine didn�t only exist in the garden, but made up the construction of the teahouse; customary to -DSDQHVH�LQWHULRUV��WDWDPL�PDWV�PDGH�RI�VWUDZ�OLQH�WKH�ÁRRU��

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Page 41: Materiality in Japan

Japanese Cypress

It is not until I sit on the ledge of the HOHYDWHG�ÁRRU�WKDW�I could appreciate the surface transi-tion from rough to PRVW�UHÀQHG��7KH�gradient of tex-tures began at the rough stone paver and ended at the intricately woven tatami.

Tatami Mats Contatins a core of rice straw which is then covered by woven soft rush straw

Page 42: Materiality in Japan

MECHANICAL RESPIRATION

GRIN GRIN TOYO ITO & ASSOCIATESTaken at 1:09 PM 6-09-11

Aerial View

SECTION OF RIBBON WINDOW

Source: Bing Maps

MOLDED ACRYLIC PANEL

ALUMINUM ANGLE AND OPERABLE MECHANICAL SYSTEM

Page 43: Materiality in Japan

� (WWYVHJOPUN�[OL�ÄYZ[�I\PSK-PUN�VU�0ZSHUK�*P[`�*LU[YHS�7HYR��0�HSTVZ[�TPZ[VVR�;V`V�0[V»Z�¸.YPU�.YPU¹�HZ�HU�\UKLYNYV\UK�I\PSKPUN��>OPSL�P[�KVLZ�OH]L�H�NYLLU�YVVM�THKL�VM�JVUJYL[L�Z[Y\J[\YL��[OL�WH[O�[^PZ[Z�HIV\[�[OL�SHUKZJHWL��ILJVTPUN�IV[O�[OL�ZOLS[LY�HUK�Z\YMHJL�[V�^HSR�VU�

� ;V�HJJVTTVKH[L�[OL�PU-[LYUHS�LJVZ`Z[LTZ�[OL�WSHU[�HUK�PUZLJ[�SPML�ULLK�[V�Z\Y]P]L��VWLY-HISL�KL]PJLZ�HYL�\ZLK�[V�HSSV^�[OL�I\PSKPUN�[V�IYLH[O��;LTWLYH[\YL�PZ�JVU[YVSSLK�[OYV\NO�*LPSPUN�ZO\[[LYZ�JVU[YVS�HTV\U[Z�VM�Z\USPNO[�^OPSL�[OL�YPIIVU�^PUKV^Z�[OH[�^YHW�TVZ[�VM�[OL�I\PSKPUNZ�TVKLYH[L�HPY��

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Page 44: Materiality in Japan
Page 45: Materiality in Japan

MATTHEW KIWIORNorth Arlington, New Jersey and PolandClass of 2015 Syracuse Architecture

Page 46: Materiality in Japan

The construction of Katsura began in the seventeenth century and continued for several decades. As the design was delegated between several members RI� WKH� LPSHULDO� IDPLO\� DQG� LQÁXHQFHG�by different time periods and design WHFKQLTXHV��HDFK�DGGLWLRQ�ZDV�ÀWWHG�WR�the previous one. A promenade through WKH� WHDKRXVH� JDUGHQ� ZDV� ÀQDOO\�completed, which creates thresholds between teahouses and pavilions WKURXJK� WKH� XVH� RI� URXJK� RU� UHÀQHG�stones, or cedar logs as paths, which acts as markers of change.

Onrindo Pavilion

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Page 47: Materiality in Japan

Step to Onrinda Teahouse

Three 1.5� by 3� stones

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Path leading to Onrindo

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Delineation of the Pavilion

����� ���� ����� �������������������� !�������� �������� ���$����������������� ���� ��� �� �������������#�������� ������� �������������"�!���������� �������� ��������� �����SVHHFE�TUPOFT�PG�UIF�QBUI�QSFDFEJOH�JU��4RVBSF�DVU�TUPOFT �BCPVU�����GFFU�CZ�����GFFU �BSF�VTFE�BSPVOE�UIF�0OSJOEP�1BWJMJPO��5IJT�QBUI�MBDLT�QFSGFDUJPO �ZFU�SFUBJOT�BO�JEFOUJmBCMF��� �����#�������������� ������������������������#��������������������� $���� ���"��������� �������� ���������������� ���������� ����� ��� ��� ����$��"����������� ��������� !��������������!��$��������$���� �������������������������������� ������������������������ �������"����� �����������$��������������� ������������ ����������"����$�$��� ������������������ ������������������ ����������������������� ����� ���������������"������ ������

Page 48: Materiality in Japan

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The ACROS building in Fukuoka integrates itself into the park on its site. It produces the image of a mountain covered in trees and plants; the surfaces that one comes into contact with resemble the strong rock of a real mountain.

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Page 49: Materiality in Japan

� ������������� ��������������� ����������������� � ��������������������������������� �������� ������������������������������ �������������������������������� ������������������������������������������������������ ����������� ���� �� ������������������ ���������"�DVSWJOH �HMB[FE�XBMM�PG�SFDFEJOH�PGmDFT�BOE�TFNJOBS�SPPNT�TUPQT�JO�JUT�USBDLT�XIFO�JU�SFBDIFT�UIF�TPMJE�XBMM�PG�NBSCMF�DMBEEJOH�UIF�JOUFSJPS�NPVOE ���������� �������� ��� �������������� ������������ ���������������������

�� ���� ������ ����������������� ���������������� ������ ��� ����� �������� ������ ���������� �������������� ������������������� ��� ����

����� �������������������� ��� ������������ ���������� ��� ��������� ������������ ���� �������� ������� � ������������ ������ � �� �������� ����� ���������� ���

Page 50: Materiality in Japan

Within In the Oval of Benesse House, Tadao Ando HPSOR\V�WKH�XVH�RI�UHÀQHG�DQG�XQUHÀQHG��almost raw, materials to help blend the hotel building into the landscape. Ando does so to blur the line between where the Oval begins and where it ends, creating a feeling of greater tranquility for guests, as opposed ot the bustle of everyday life. Ambiguous lines are drawn through the use of different materials, which help identify parts of the building, but do not separate it from it its site.

Page 51: Materiality in Japan

7KH�2YDO�LV�DQ�LQWHUSOD\�EHWZHHQ�WKH�UHÀQHG�DQG�URXJK��7KH�OLPHVWRQH�ZDOOV�RI�WKH�SHULPHWHU�VHSDUDWH�WKH�LQQHU�ZRUOG�RI� WKH�RYDO� IURP� WKH�ZLOG��H[WHULRU�H[SDQVH�RI�QDWXUH��$V�RQH�PRYHV� IURP� WKH�H[WHULRU� WR� WKH� LQWHULRU� WKH�PDWHULDOV�EHFRPH�PRUH� UHÀQHG��VXFK�DV� WKH�RYDO� UHÁHFWLQJ�SRRO��ZKLFK� LV�D�FOHDQ�DQG�VLPSOH� UHIHUHQFH�RI� WKH�Ҋ,QODQG�6HDҋ��7KH�FRXUW\DUG�RI�WKH�RYDO�EHFRPHV�WKH�ODQG�ZLWKLQ�DQG�DURXQG�WKH�VHD��ZKLOH�WKH�EOXH�ZDOOV�RI�WKH�FRXU\DUG�EHFRPH�D�KRPRJHQRXV��EOXH�KRUL]RQ�

During my stay in the Oval, I realized WKDW�WKH�UHÁHFWLQJ�SRRO�EHFDPH�D�WRRO�WR�XQLWH�WKH�

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Page 52: Materiality in Japan

��� � ������ � ���� ��� � � � ��� �� ������ ��� � � ������� ������� ����������� ��� � ��� ����� ��� � � � ��� ���� � ������� ������ � � ���������PG� UIF� DIBQFM�� (MBTT� mMMT� UIF� FNQUZ�TQBDF � BDUJOH� BT� BO� JO�mMM�� -JHIU� JT������� ��� ������ ������ ���������QBTTJOH�UISPVHI�DBSFGVMMZ�BTTFNCMFE���� ������������������ ��������

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JUSTIN OSTRANDERHendersonville, TennesseeClass of 2014 Syracuse Architecture

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TASKINA TAREENDacca, BangladeshClass of 2015 Syracuse Architecture

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SHOJIThe Screens of Japan

TENRYU-JI TEMPLETENRYUJI, SUSUKINOBABA-CHO,UKYO-KU,KYOTO,JAPAN

Shoji Screens in Main Temple, Tenryu-jiphotograph by Taskina Tareen

An important feature in Japanese architecture, the shoji screen is a sliding outer partition consisting of a light timber lattice covered by delicate white translucent rice paper called Washi. Transcending from traditional temples to even the most westernized apartments, the use of the shoji screen is what di!erentiates Japanese architecture amongst world architecture. On a bright June day in Kyoto, , the semi-transparent paper softly di!uses light into the interior of the main temple of the Tenryu-Ji complex, creating soft shadows within the sacred space.

Page 77: Materiality in Japan

Shoji Screens in Main Temple, Tenryu-ji Translucent Japanese Washi paperphotograph by Taskina Tareen

The translucency of the delicate washi ensures the soft diffusion of light into a

room

The wood lattice determines the amount of light that enters the room through the

white washi paper

photograph by Taskina Tareen photograph by Stephanie Billovitz

Translucent Washi Paper

Light Timper Frame

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THE DISCRETE ILLUMINATION OF TADAO ANDO

Lighting fixtureGalleria Akka BuildingOsaka, Japanphotograph by Francis McKlosky

Lighting fixture embedded in staircaseGalleria Akka BuildingOsaka, Japanphotograph by Taskina Tareen

Lighting fixture embedded in staircaseBIGI2BuildingOsaka, Japanphotograph by Taskina Tareen

Tube light fixtures on concreteBenesse Park HotelNaoshima Island, Japanphotograph by Leslie Baz

Japanese architect, Tadao Ando’s architecture is characterized by one sublime material – un!nished, "at grey concrete. Using this hard and heavy material, Ando manipulates light, wind and sounds into his buildings, relying on the simple reinforced concrete to control other elements within a building. This holds true in the way in which Ando integrates arti!cial lighting into his designs. By embedding the lighting !xtures into the concrete in various ways, Ando makes the presences of a light bulb as discrete as possible, disguising the concrete as the emitter of light in his buildings.

Page 79: Materiality in Japan

Lighting fixture embedded in staircaseBIGI2BuildingOsaka, Japanphotograph by Taskina Tareen

Lighting in cylindrical casingBIGI2 BuildingOsaka, Japanphotograph by Leslie Baz

Lighting fixture embedded on concrete wallChichu Art MuseumNaoshima Island, Japanphotograph by Justin Ostringer

Tube light fixtures on concreteBenesse Park HotelNaoshima Island, Japanphotograph by Leslie Baz

Lighting on art pieceBenesse Park HotelNaoshima Island, Japanphotograph by Leslie Baz

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Image taken from Remain in Naoshima: Naoshima Contemporary Art Museum by Yuji and Kumiko Ehara (editors) Akimoto (Author)

MINAMIDERA ART HOUSE PROJECTARCHITECT: TADAO ANDOARTIST: JAMES TURRELLBENESSE ART SITE HONMURAJAPAN

DARK CEDAR IN MINAMIDERA

”�n�N�o���m� ,�effo�t��do�not�end�� t��u�t��to���ng�t�e������ge�of�t�me��n�t�e����t...�ou�e����e��e�ng�g�ven���new�l�fe�����n�e���ten�e�to����t��� ll����� tu�e�t�e���e�ent.”

Remain in Naoshima: Naoshima Contemporary Art Museum by Yuji and Kumiko Ehara (editors) Akimoto (Author)

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Collaboration between Japanese architect Tadao Ando and American artist James Turrell, the Minamidera is the newest structure among the Naoshima art house projects. The dark cedar planks of the project are not only a reference to the temple that once stood before it, but also reflect the darkness that lies inside, insti-������������ �������������������������������������������� ������� ����� ��������������������������������������������� ������������������������ � ��������������������������� ������������������������������������ ������������������������������������������������������� ������������������� ��������������������� ����������������� ������������������������������ ������ �������������� ���������������������������������������������� ������������������� �������������������������� ��������������������������������������� ��������������� ������������������������ ��������������������������������������������� �������������������

Dark cedar PlankingSouth wallMinamidera Art House Project

Japanese Dark cedar planking������� ��Minamidera Art House Project

James Turrell����������������� ����1999www.benesse-artsite.jp

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WEATHERING IN FUKUOKA HOUSING

NEXUS WORLD HOUSINGSTEVEH HOLL ARCHITECTS 1989-1991FUKUOKAJAPAN06.09.2011

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Oxidized copper barrierFront entryNexus Housing by Steven Holl06.09.201111:12 AM

Weathered concrete wallFront FacadeNexus Housing by Steven Holl06.09.201111:23 AM

Rain water on fourth floor exteriorNexus Housing by Steven Holl06.09.201112.03 PM

As we walked along the sidewalk of the Nexus Housing Development on a rainy day in Fukuoka, the hinged housing blocks designed by Steven Holl architects certainly stood apart in my eyes from its neighbouring buildings. Alongside its clever interlocking design resembling a complex chinese box, the housing block has aged beautifully given the area�sweather conditions. From rainwater washing away painted walls and oxidized copper surfaces to summer heat disinte-grating concrete, every little crack and discoloration has added to a slow but fine weathering of this domestic space.

Galvanized zincExterior staircaseNexus Housing by Steven Holl06.10.201111:45 AM

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JAPAN-NESS + MATERIALITY

CONTRIBUTORS:

LESLIE BAZSTEPHANIE BILLOVITSPEDRO DORTAMcNISKY JEANTUSMATTHEW KIWIORFRANCIS McCLOSKEY LOPEZJUSTIN OSTRANDERTASKINA TAREEN