Materiality in Japan
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Transcript of Materiality in Japan
MICHAEL CARROLL M.ARCH II
SYRACUSE UNIVERSITY ABROAD PROGRAM_JAPAN 2011
JAPAN-NESS + MATERIALITY
JAPAN-NESS + MATERIALITY
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
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
LESLIE BAZ Mexico City, MexicoClass of 2015 Syracuse Architecture
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
Stairway
Overcast weather
i. Sotokoshikake, Waiting room
ii. i.
ii. Shoin, Main Villa
STONE BASES
Katsura Imperial VillaKyoto
Photographs by Leslie Baz
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
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
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.
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
STEPHANIE BILLOVITS Midland, MichiganClass of 2014 Syracuse Architecture
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PEDRO DORTASan Juan, Puerto RicoClass of 2014 Syracuse Architecture
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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.
McNISKY JEANTUS Maplewood, New Jersey and HaitiClass of 2014 Syracuse Architecture
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.
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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
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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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MECHANICAL RESPIRATION
GRIN GRIN TOYO ITO & ASSOCIATESTaken at 1:09 PM 6-09-11
Aerial View
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Source: Bing Maps
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MATTHEW KIWIORNorth Arlington, New Jersey and PolandClass of 2015 Syracuse Architecture
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JUSTIN OSTRANDERHendersonville, TennesseeClass of 2014 Syracuse Architecture
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TASKINA TAREENDacca, BangladeshClass of 2015 Syracuse Architecture
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.
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
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.
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
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)
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
WEATHERING IN FUKUOKA HOUSING
NEXUS WORLD HOUSINGSTEVEH HOLL ARCHITECTS 1989-1991FUKUOKAJAPAN06.09.2011
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
JAPAN-NESS + MATERIALITY
CONTRIBUTORS:
LESLIE BAZSTEPHANIE BILLOVITSPEDRO DORTAMcNISKY JEANTUSMATTHEW KIWIORFRANCIS McCLOSKEY LOPEZJUSTIN OSTRANDERTASKINA TAREEN