japan architect - housing

• The Japan Architect

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CONTENTS

4 Between Reality and - Hajime Yatsuka

162 Fukuoka, Phenomenologicai ... ---·····---------·---------·----Steven Hall + Hideaki Ariizumi

Kumamoto Artpolis

12 Hotakubo ---~----------------- Riken Yamamoto & Field Shop

24 Kumamoto Municipal Housing Estate, Shinchi · Master Plan

26

46

48

54

58

62

76

Shinchi Danchi-A------~ --Kunihiko Hayakawa, Architect & Associates

Kumamoto Municipal Housing Estate, Takuma: Master Plan

Takuma Housing Sakamoto Studio

Takuma Housing Project----- Yasumitsu Matsunaga/SKM Architects & Planners

Takuma Housing Hasegawa Atelier

Saishunkan Seiyaku Women's Dormitory---Kazuyo Sejima Architects & Associates

Common City Hoshida-------------Kazunari Sakamoto Studio

Nexus World Kasii

90 Master Plan

92 Steven Holl Block --------------Steven Hall Architects

104 Rem Koolhaas Block ------Rem Koolhaas/Office for Metropolitan Architecture

116 Mark Mack Block ------------Mark Mack/Mack Archit~cts

128 Osamu lshiyama Block --------Osamu lshiyama Laboratory, Waseda Univ.

138 Christian de Portzamparc Block ----Atelier d'Architecture Christian de Portzamparc

150 Oscar Tusquets Block --------Oscar Tusquets/Tusquets, Oiaz & Associates

172 Y's Court ~lakahara-------Yasumitsu Matsunaga/SKM Architects & Planners

180 Orchid Court Phase 1--Charles W. Moore/Moore Ruble Yudell + Mitsui Construction

188 Hillside Terrace Complex, Phase 6------Fumihiko Maki/Maki and Associates

196 Ryokuen-toshi Development Inter-Junction City----- Riken Yamamoto & Field Shop

208 Detail Drawings

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BETWEEN REALITY AND UNREALITY Hajime Yatsuka

Housing has been the most important task in the history of this article will concentrate on two developments; Kumamoto Modern architecture, both in the West and Japan. However, (which includes Hotakubo by Yamamoto, Shinchi housing by Japan in the past two decades has hardly witnessed any signifl- Hayakawa and the Saishun-Kan women's dormitory by Sejima), cant achievement in this f1eld. It is without doubt that this a Japanese counterpart of the IBA projects of Berlin, known as phenomenon reflects the reality in which housing problems the Kumamoto Art Polis and secondly, the Nexus development have become a secondary concern for Japanese people, except in designed by architects from abroad. cases speculation. That the only achievement in this period The Hotakubo housing by Riken Yamamoto, represents a was to crown the concrete houses of several stories with pitched very realistic approach to the housing dilemma. It is an exceproofs covered by traditional kawara tiles, illustrates how futile tiona! renovation in terms of organization of inner spaces, since the effort has been. This strange discovery of kawara housing is Kunia Maekawa's readaptation of the Unite d'Habitation in his none other than there-transfer of the so-called "imperial crown apartment house of Harumi (Tokyo) in the late 1950's. It is even style" of prewar times. This association with Japanese impe- "revolutionary" and epoch-making, considering how convenrialism into the field of domestic architecture, well illustrates the tiona! almost all the pu~lic housing built in Japan has been. The conservative nature of past solutions. Hotakubo project is the climax of a design ~Y Yama-

Featured in this issue are recent housing projects in Japan. iiloto that began in series of his smaller townhouses. These They cover a broad range of programs from social housing, liOUs'es are based on the reflection of the conditio ;;in Japanese / private developments, dormitories, and a group of detached I cities and their respective climates. In Hotakubo, Yamamoto l houses by a single architect. The variety and scope of these pro- offers .. a re-interpre!ation of tradition::!.Jife ~ jects enables us to give insight into the nature of the problems of tyeologies; living quarters facing towards a common space urban dwellings and their relation to the city. The main focus of( (court), sC'iiir-open galleries to connect living quarters to bed- .

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4 JA !991-4 HOUSING

rooms, and large covered balconies for outdoor life. These are quite skillfully arranged and designed within a limit a very low budget. Overall, a highly reasonable and thoughtful proposal.

( Unfortunately, however, the proposal was not well recieved by \ a small group its inhabitants. Those who had been accus) tome~ to the normal and architecturally prosaic type of hous-

ing. And as often is done, journalists who have little insight -;bout the nature of the problems involved, report this as an

example of the architect's egoism. His will to sacrifiCe the inhabitants for the sake of"design" which is, as they argue, alien to the life and local climate. They never understood that the trouble arose because of the architect's concern for life and

/ climates, not by the absence of it. This is quite an interesting 1

~ case that illustrates people are not living firmly on the real con- \ clition, but rather on the convention which has no "real" justif1- ( cation in the end. To compare this case with others such as the Shinchi housing and Nexus in particular provides an even more revealing perspective.

The Shinchi housing project consists of various phases, each phase will have its own character, but the same guidelines will

apply to all the phases. The fmal project is to be built in ftve successive stages, each of which is to be designed by different architects. working system as a joint group has been adopted before, however, the working method is quite unique. This was arranged to reflect the different conditions of the site. The was arranged to reflect the different conditions of the site. The Shinchi, with a very long and narrow site, is traveresed by the main access street. This seemed a convenient case for the experiment of urban design a Ia Viennese Hoffs circa 1930. For this purpose, a team of architects with a relatively common method and language was organized. They were then requested to work within the prescribed guidelines of presenting long blocks parallel to the main street. It was intended that the whole complex transfers from an urban setting in the fmt phase to a more rural setting of the last phase.

This method of designing at Shinchi greatly contrasts the method utilized in the Takuma housing project. Takuma is also part of the Kumamoto Artpolis. Here, I tried an experiment, instead of imposing strict guidelines as in Shinchi. I gave the architects a free hand on the site. Unlike the Nexus architects,

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]A 1991·4 HOUSING 5

the three Takuma architects were chosen for their common ideology and mterests. Takuma is divided into three phases, instead of one architect taking an individual phase, all three decided to work on each phase together. Hence, the Takuma project becomes.a type of patchwork. Each section comprised of works by all the architects. The buildings acting like a thread tying the whole site together.

Returning to our subject of the confrontation of reality and unrealty, it is fascinating to note that many ofHayakawa's previous residenses were often used as houses of young characters portrayed by popular actors and actresses in television dramas. It is compelling to see the important role the image of the house plays in these fashionable dramas. To further illustrate this point; there exists in some television programming magazines, regular articles devoted to analyzing these houses and the characters who inhabit them. Peo le are living in the illusion rath~n in reali.!.YJo meet with their real soc· status. They escape into the ~ld of the "urb.i!n nomad_:and live vicariously for one hour every night. The Shinchi project by Hayakawa is more modest in shapes and colors compared to his previous

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works. This, due to that it is a housing project with a tight budget (actually even tighter than Yamamoto's Hodakubo) and the inhabitants are not "urban nomads", Toyo Ito put it) with youth, money, time, and tireless interest for the most fashionable urban life style. Instead, this project is very large in scale, the merit of which he managed to utilize as much as possible to present signiftcant outdoor spaces with urban theatrical settings. In these spaces, people can be "famous for ftfteen minutes", as Andy Warhol once said, without transgressing their own territory.

The idea of the nomad is not new to.Kazuyo Sejima. While working for Toyo Ito, Sejima was featured as a model in the presentation photographs for the Tokyo nomad woman project. The new women's dormitory for Saishun-kan is her fmt major commission since establishing her own offtce. This project is deeply rooted in the ideas of this nomad women and of the female client who established Saishun-kan, a manufacturer of beauty-health care products. The client wants her female employees (ages 18-19) to live and work together under her supervision for the fmt one years of their apprenticeship. For

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6 JA 1991-4 HOUSING

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this reason, Sejima's design takes the character of a Fourien pharanstere, or early Russian communal house. Sejima's idea to reduce the private sector as much as possible, producing a unproportionally large common space, which is actually a covered court underlies this spirit of communalism. The obsession with light (this building is basically one large glass box including the roof with broad skylights), also conftrms this association with Fourieism. Here, we can witness the strange juxtaposition of quasi arcaic space of maternalistic supervision and modern nomadism. Strange because nomadism was originally intended to be against any form of constraint, including maternalism. It is without doubt that the innocent lightness in the language of Sejima contributes a lot to decolorize the overbearing maternal atmosphere which can tend to appear suppessive. The projects of Yamamoto, Hayakawa and Sejima are all attempts to manipulate real and unreal conditions in their own way, to fmd common ground between the two.

The coexistence of both the real and unreal as the Kumamoto projects show is more prominent in the Nexus projects in Fukuoka which is adjacent to Kumamoto. If we were to under-

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stand the word "real" in terms of the acquaintance with local conditions such as life style, climate, social customs, etc., it only leads to the too apparent conclusion that foreign architects can never design "real" housing. However, after observing that social housing projects bound with a lot of realistic conditions are not neccessarily, good or bad, ruled by the real conditions today, it seems absured to insist that housing is something to be designed exclusively by local architects. The contemporary globalization of so many aspects related to the life of people already deprives us the groundwork for this kind of conservative argument.

The Nexus project is a typical showcase to illustrate the possible solutions for housing problems in this age of globalization. Rem Koolhaas, regarding this project, states that western architects designing in Japan face a dilemma. Whether to design as usual as in their homecountry or to reflect the Japanese reality. These alternatives are realistic in either case. Koolhaas, refering to this rapid globalization of Japan, further ad~ in another occasion, " . . this confronts us with an incredible dilemma or accumulated dilemmas which have to do with scale, program, articulation, strangeness, and alienation from origins. These are

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phenominally complex; do any of us have terms of reference to really judge their success or failure? I don't think so. This issue is such that you cannot bemoan the loss of status to our profession, and at the same time reject every symptom of a new territory for the profession." For other critics, this influx of foreign architects is an unfortunate event. The outcome they argue is both irresponsible and inadequate, one where there is " ... no dialogue between buildings, the surrounding or the. public". In these comments, the sly hint to Japan money to buy architectural talents from the West (and spoil the Japanese environment) is apparent. I stand with Koolhaas on this issue. I believe that we do not have any ultimate criterion for judgement.

In fact, we see a lot in Nexus which cannot be judged. Should we simply just follow our customery-procedure for judgement, and reject these schemes? A typical example is the heterogeneity of the expression each building demonstrates. The harmonious townscape in the normal sense of the word doesn't exist here. The easiest association of Japanese people would be the exhibition sites of mass-prefabricated houses. (unique in the world,

but very popular here). In these sites, there exists no harmony among houses, apparently because the only concern for the house-maker is to demonstrate the character of their commodities. People never expect the effect of the harmonious townscape in these selfish orgies of commodities. (Sakamoto's Hoshida project is an interesting project to be seen in this light.) This association easily leads people to the conclusion that, also in Nexus, the commercialism of the developer and the selfIshness of the architect have spoiled the social responsibility of architecture to the general townscape. This reaction was espoused by many, including the ex-leader of the Metabolist group, Kiyonori Kikutake. Even among the invited architects, Oscar Tusquets seems to have felt betrayed when the original ru~out of having blocks parallel to the street was violated and then abandoned in the course of the design. This violation has justification in two aspects. First, buildings in front of their site are perpendicular to the street which makes it impossible to have a street as a space in the European sense. Secondly, this idea of a street as a space has never existed in Japan traditionally. (For this reason Hayakawa's Shinchi is

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rather an unique expirement) In Japanese cities (contemporary), with few exceptions, we

have no norms or guidelines for townscapes anymore. cially considering the fact that this project is not based on the homogenity of its inhabitants as the Kumamoto Artpolis

(

projects, the heterogenity which this second " eisenh ff'' seventy years s ows is acceptab e in princip e. At the same time, though, it might be better to reserve final judgement about the success or failure in terms of the quality of new townscape created.

On the question of the heterogenity Nexus presents, we should develope our analysis beyond the level of the appearance of individual buildings. It relates to the problem of the "peculiarity" of Japanese culture as Koolhaas suggests. Japanese people tend to believe that we can absorb, and have actually absorbed western cultures, but our culture is too unique in the world to be understood by foreigners. More concretely, the problem of the possible social image of inhabitants architects would have in mind. How for i archit cts conceive of e inhabita n ~? In my view, the attitudes of two American

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architects, Mark Mack and Steven Holl, were both coherent and ____.,.----~~ ~-

~· Their buildin s resent almost the same im~ .the would build or wish to build in their own country. Exceptions arising from differences caused by local conCfffions such as regulations and building customs. In some sense, their realistic approach by-passes the dilemma which Koolhaas put into question. As much as real buildings, their works seem to be quite reasonable and successful in their design. The differences between their works, com'spond to the differences in the individual architects geographic backgrounds; the populistic the WestCoast Mach and the sophisticated the East Coast Hoi!. The two of them, along with Yamamoto's Japanese approach present examples which will interest the adherents of critical regionalism. Holl's work especially is countable as his best to date.

When I asked Hoi! about his conception of the inhabitants in his building, he replied half in jest, that the inhabitants would be servants of the ones in Koolhaas's apartment block. In fact, the long outdoor corridor, which is beautifully designed, but is not neccessarily indespensible functionally, represents his notion. He seems to have bared in mind the scene of people coming and

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JA 1991-4 HOUSING 9

going generating a sense of community. This is similar to what access possibility as a function of freedom-such a elitist vision Yamamoto must have had in mind for his courtyard with living of the nomad society! quarters facing each other in spite of the inconvenience of Among these hybrid elements are traditional Japanese ele- \ privacy. (Maybe we should note that they also share a interest in ments, not only in Koolhaas's building, but in others as well. In internal spatial organization). Koolhaas's work, he makes use of a black fake-stone wall

(' By contrast, the work of Koolhaas is actually not collective (actually tinted concrete). The wall will eventually act as a j i housing. Rather a gathering~pendent court houses which "sockle" for Isozaki's two towers (to be completed at a later (

)

. he has tried to base on the scheme of ~ander Rohe and date). As a Westerner, Koolhaas probably envisioned his wall as ~mer. Here, we can see no sense of the community, his a reference that recalls the fortification of old Japanese feudal choice of furniture for the model room is highly implicative in castles (perhaps a sarcastic gesture towards Isozaki's upcoming · this respect. It is far from the puristic taste of Mies; a copy of the towers). The wall, however, has associations of cheap comsculptures of ancient Greece, chairs both decorative and post- mercia! strip architecture for the Japanese observer. One could modern and large audio-visual equipment. Mies is none other say that it is now a parody of a parody. Another example of the than pretext to provide the neutral setting for these hybrid ele- pop/traditional is the tatami room by Christian Portzamparc in ments. They offer us a scene of "less of bore", in the setting of his Golden Tempietto. Some Japanese observers seem to be "less is more." His possible inhabitants are those who make a perplexed to see them, since many Japanese are particularly random access to these hybrid data bases. What is at issue, is this sensitive about the authtmtic manner of traditional elements. If randomness, which was made possible only in this age of globali- we were to view these Japanese elements at Nexus in this manzation and the electronic media, not the qualities of individual / ner, they become nothing more than kitsch and pastich (didn't elements. And it seems that Koolhaas regards this random- Frederick Jameson argue that pasticheness is an important

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10 JA 1991·4 HOUSING

factor of the postmodern?). If, however, we take them as not neccessarily indispensable pop elements we have a different way to appreciate them. In this context, the black "Mountam" by Portzamparc transforms into a welcome sight on the landscape. To borrow, out of context, from Koolhaas," ... if you analyze them as architecture, they have lots of flaws. If you analyze them on their program, they maybe some of the most amazing things".

The manner of the only Japanese architect, Ishiyama looks somehow odd in this context. He is an architect who rejects the authentic manner in architecture, refering to the tradition of Japanese craftmanship. At Nexus, he could not fmd any authentic object in the Japanese sense to challenge. This compelled him to a rather awkward and defensive position of trying to descriminate his non-authentic Japaneseness from the fake Japaneseness of foreign architects. Seen standing side by side, it becomes very clear that Ishiyama's building is quite realistic and substantial, while Koolhaas and Portzamparc's are unrealistic and non-substantial (actually semiotic). Oscar Tusquets, the realistic architect whose works are based on the traditional and

authentic, seems to have suffered most in the foreign situation. This experiment is interesting, in the sense that it presents the intersection of the real and the unreal in a most striking way. If I were to reserve the unconditional approval of this project, it is to miss the abscense of the social program (master plan) to transform this open possibility to a more defmitive positive way. But that is, course, beyond the ability of individual architects.

This next step of the Nexus project invol~es the "architectural producer" of Nexus and by chance, also the commissioner of Kumamoto, Arata Isozaki (I am acting as director of Kumamoto upon Isozaki's request). Isozaki plans to add two large skyscrapers to the Nexus landscape. His scheme recalls Leonidov's proposal for Dom Naromtiazhprom. It is a very bold proposal, should it fail, it will surely bring the rest of Nexus down with it. Isozaki also plans to add a couple of follies into the landscape. Given his involvement for exposition 1990 in Osaka, (in which he, along with myself as design coordinater, brought together architects from abroad to design follies), it is not surprising to fmd that the follies of architects Zaha Hadid and Daniel Liebeskind are to be reconstructed at Nexus.

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~------------------------------------------------------------------------------------------~

JA 1991-4 HOUSING 11

OKumamoto Artpolis/!i~:$?-~;fiJ;z.

RIKEN YAMAMOTO & Fteld Shop

Hotakubo Housing / ~~1!!1EEii!lH~ll!l Hii!I:iji:t:j:l) W*i!I'Jlli~~ti~

Because it is intended for occupancy solely by people of low income brackets, Japanese public housing must be built on small budgets. Although such housing is state subsidized, building-cost increases inevitably reflect in rent increases. Furthermore, the designer who wants to produce good public housing within limited budgets must work

j under various~. For instance, each household must be assured more than ±..bours o£ sunlight daily. Standard floor areas must"bdrom 70

toBo square• meters per apartment. The so-called fublic Housing Law specifies these and still more

minor matters like numbers of rooms and amounts of storage space. All these considerations have made it very difftcult to employ bold ideas in the designs of Japanese public housing.

Hotakubo Housing too is low-cost and subject to the Public Housing Law. In one respect, however, its planning was blessed above all its predecessors. It was planned in con.nection with a municipal design enterprise called the Kumamoto Artpolis.

An urban-architecture movement originally proposed by the former governor, the Kumamoto Artpolis aims ultimately to create a city by improving the design quality of each building built in Kumamoto Prefecture. Its commissioner, Arata

Sile.

12 JA 1991-4 HOUSING

!sozaki, appointed me to design this housing project.

In spite of the rigorous restrictions imposed on public housing, in this instance, the spirits of the prefectural staff are high because of their awareness of doing something unprecedented. Their expectations of me too are related to novelty: the newness of my system for assembling dwellings within the development.

Although very strict from the designer's standpoint, the Public Housing Law has effectively maintained a certain standard of quality. But its concern for quality was concentrated only on the apartments themselves and did not extend to methods of combining them. It was enough to line them up horizontally in piled-up stories as long as they did not interfere with each other. Under such circumstances, no valid system for combining apartment units existed.

The plan for Hotakubo Housing proposes such a system. Basically, the 'apartments surround a courtyard, referred to as the Central Plaza. The difference between this and the ordinary garden-style apartment building is that no access to the courtyard is provided directly from the outside. The Central Plaza is available only to the inhabitants of

the 110 dwellings in the development. Each apartment has 2 staircases. One connects

with the loop road surrounding the building and provides access to the apartment from the outside. The other leads down into the Central Plaza. To reach the plaza from outside, it is necessary to use both staircases and pass through one of the apartments. Each apartment is a threshold to the Central Plaza.

The closed nature of the plotting supplied a reference point for planning individual apartments. In each, sleeping quarters are positioned on the road side; family quarters are placed facing the Central Plaza. On the third and all higher stories, a bridge connects the two. On the second story, they are joined by a small inner garden space. For a simple reason, the family room is as open to the Plaza as possible: theoretically, the Central Plaza may be limitlessly open as long as it is isolated from the outside world.

The entire architectural system rests on the character of the Central Plaza. The success of the plan on whether the inhabitants feel the Central Plaza is exclusively their own; that is, whether they believe that all 110 apartments constitute a single unit.

(Riken Yamamoto)

.~1

D-type

D-type

C-type

A-type .

0 0

ITIIIIIII 111ft

A-rype unit plan; scale: 11200.

\~~I T': l .

0

Section; scale: 11200.

B-rype unit plan; scale: 11200.

1 JAPANESE·STYLE ROOM 2 LlVlNG ROOM/OlNlNG ROOM 3 TERRACE 4 BRlDGE 5 COURT

C-rype unit plan; scale: 11200.

4

[).rype unit plan; scale: I 1200.


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JA 1991·4 HOUSiNG 19

JA 1991-4 HOUSING

(pp. 14-15) Aairt! ·11icw. (pp. 16-17) Gmaal z;itw ;;om the ren/ral plaza. (p. 18) Eh-z;alion of central plaza side. (p. 19) Fami{y-use spaces j{ICe /award the miiml plaza. (leji) Staircase.< around the ;mime/a of/he buildiug complex. ()acing page} Lower porliou of the buildiug perime/er.

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IZOXD ftf!l!yt./I.JOJP.ifHi. (2!i(J ltNi;j./I.JO)lloiCI"i I)'

location: Kumamoto, Kumamoto Prefecture architects: RIKEN YAMAMOTO & Field Shop client: Kumamoto (Municipal Government) structural engineers: lmai Consulting Structural Engineer general contractors: 1st phase; Wakuda Construction Co., Ltd. (West wing) and Takahashi Construction Co., Ltd. (North wing) , 2nd phase; Mitsuno Construction Co., Ltd. (East wing) and Yasuda Construction Co., Ltd. (assembly hall) site area: 11,184m2

building area: 3,562m2

total floor area: 8,753m2

structure: reinforced concrete (partly molded concreteblock bearing wall); 5 stories floor area ratio: 78.3% building coverage: 31.9% number of housing: 110 completion date: September, 1991

I ,

!}acing p{/gc) Li,~bt cnurt. (top) D-typc 1111it.

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HAciiME YATSUI<A/UPM

Shinchi Housing : Master Plan n~*-m.g:ml1!JE'!Itlil· ~'IS" .A?'-/7 /:!it:;f:t/1\;lll UPM /\J~!;I:t.:!I)JI*~lt~~

The plan calls for rebuilding a housing development (716 households, built between 1962 and 1967} to enable it to accommodate 1,078 households, or a population of about 4,000 peopl~, on a 13-hectare site. Extending over 5 years, the project is conceived of in urban terms and needs a program consonant

· with that conception. The master plan is characterized by a decidedly linear composition of a kind rarely encountered in Japan.

The site is divided among 3 zones: the dense, urban, west zone, in which buildings are middlerise; a zone that, urban in nature, conforms to the scale of the adjacent prefectural highway; and the less dense, urban, east zone, in which the buildings are low-rise. Each zone is a distinctive locale, but visual continuity is maintained among them by means of a single axis. The goal of the composition is to provide a residential environment in which people can experience a varied spatial sequence.

The 5 participating architects are Kunihiko Hayakawa, Riichiro Ogata, Yuzuru Tominaga, Hiroshi Nishioka, and Kenjiro Ueda. Each was in charge of apartment-building design for one of 5 construction phases. Nonetheless, the entire group strove to cooperate on the basis of a common concept to provide a rich residential environment by making good use of topographical variety, diverse and individualized apartment buildings, and a network of plazas.

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Site,

(p. 24) General vit"<D; PIH/JeS 4 and 5 in foregro1111d. (a/Jo11e) Gmera/1Jit11' with phrtse I in fortground. (/if!) Gmmd vit•w. Photos 011 pt1ge 24 and 25 /Jy UZJII'II Towinttga. {24l(l ~ ;g1, 5JY[Jilt~J,;·(,V)'t;i~HJ:~;!.

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JA 1991·4 HOUSING 25

fl

i;

KUNIHIKO HAYAKAWA, Arcilitect &

Shinchi Housing-A Kumamoto Municipal Housing Estate, Shinchi

!i~:<t:m '8''llil1!l@lltilA ~JIIJBi§'Ht~li!l:le~

Site; scale: II I ,200 .

. · . 26 JA 1991-4 HOUSING

............. -.................. ~··· .. "·.

' '

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Ncm site conjiguratiou, shoii'ing cbangts 1i1 lrvds. rc l t ·J~~i ~ "'".

Ntw site col!/iguration, showing !tryout of bausing blocks. ;rr L t•JUJ < tl'll!!~ 1 T 9 r.

Surrounded by a residential district, Kumamoto Municipal New Housing Development A, phase I, (276 dwellings) is located in the northwest suburbs of the city of Kumamoto. Before this project was initiated, 186 municipally operated wooden, row houses with small, hedge-enclosed gardens had stood on the site for about 30 years. The new development provides half again as many dwellings as this old arrangement. Because the former residents will return to occupy apartments in the new build

,· irrgs, the design makes every effort to preserve such traces of the original layout as topographical levels, stone-wall forms, and in-site road patterns. We


strove to develop layout diversity to replace the kind of mere repetition generally considered inevitable in developments as large as this one. Diversity together with the preservation of the old topog· raphy within the communal zone of the new plan received major priority in the design.

The buildings are of 2 types: low rise (2 to 3 stories) surrounding courtyards, and linear-form, medium rise (5 stories). The buildings include apartment layouts of 13 types in the medium-rise buildings and 10 types including 2 maisonette types in the low-rise buildings. The diverse open spaces located throughout the project include individual

approach zones for the low-rise apartments, open first-floor zones (en pilotis), concourses, pergolas, and reflecting pools. AU of these open spaces articulated on Slevels form a network that enriches the communal zones.

Attached to either end of the medium-rise building is a single-layer (1.2 meters deep) facade the same height as the low-rise buildings. These facades establish a familiar scale for the spaces enclosed by the apartment buildings, integrate the medium- and low-rise buildings, and prevent the north-south (front-back) standardization observed in ordinary apartment buildings. (Kunihiko Hayakawa)

2761iP ;: J: !.J tiolliX. t< h 6 ff~;;Ji:liJiil'Wfit!!B!lJtiJA (~ 1 !liD

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(!j!./11 ·1'!!~)


location:

site area: 28,1 area: 7,134m?

Joint Vemure of Oda, Patio, Wakuda, and

total ;rre«: 23,047m2

structure: reinforced concrete; I basement ancl 5 stories (medium-rise building), I basement and 3 stories (low-rise building) iloor area ratio: 82.0°·o building number o( date of completim:: ~·hy. I99I

5 levels ruu! black elements. Elements painted Nack are dispersed within tbe large site, gmerating au 11/usion of disorder whicb injlumces tbe scale of the open space.

5 JV) Yr.! IV(: m~ •.:L V J, ./ ~, fh:kltf(i~V)tjq:f.r, { 1t C;

tlf::t.. v ~ / ~ t;t!f,({£ l. ;t -7'/ 7-......Z- AV)A?'"-J}"f'f1l

~(.'t "·

Isometric of t!Je low-rise building. !il;IMI!li7 -1 Y;. f 9 ., ?[1L

}A 1991-4 HOUSING

(p. 27) Vit£<'1 tozr:l(lrdJ lbr uori/; m.:di:mt~riu building seen from tbe soutb mahum-ris( building. "' (pp. 28-29) South nw!inm-rise /Jwlding S<C/1 beyond tb,· T<jlming pool. (pp. 30-31) Birr/'s-eye vi,·;!l. T/x Shincl!i Housing Estah• composed oj two meduon-risc blocks (170 meters lout) set rtlong the edges of tbe site with low-rise blocks situated a/ 1be Wiler. Formed 1dtbin liN compos ilion blocks 12-me/er-square wur£yards

the· medimn-

u( 1be sou/b medium-

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(39i['f} 31~077"'1--f'lp~;,Z:;;cpf~I~L

L_ _________________________ _

Perspeclive drawing oftl COIITI)'tlrd in !be lourrise building complex. llli0W'i•ll§~- f'i-7 .. Perspeaive d"1wing of a COIITI)'ard in !be low-rise building complex. l!\101!lt<l•ll§~- '''-"·

Isometric of tbe medium-rise building. •t•1!11li!T11 > f ~ ·7 ?til.

]A 1991-4 HOUSING 35

SOUTH MEDIUM-RISE BUILDING •t·\~iliW

Soutb elevation,

UNIT PLANS IN THE MEDIUM-RISE BUILDING: Scale: 11200. •l'fllf*;z..::.., r77:--

Category I, 2LDK, SF.


[

I

Category 1, 2LDK, 5F.

NORTH MEDIUM-RISE BUILDING •1·~1-ltNi

North ek11111ion; sct1k: 111,000.

Soutb &vation.

Top floor; scale: 111,000.

Middle floor.

Grolfnd floor.

Category 1, JDK, 5F.


Category !, 3DK, 1,2,3F.

Category 2, 3Dk, IF. Ca1egory 2, 3DK, 2F.

Category 2, 3DK, 1 F, for the sroerely handicapped.

Municipal housing laws in japa11 classify housing units into two ojjicia/ categories based on the)n.come bmel of the tenant. Category I units,jor the higher:income group, are about five square meters larger than the Category 2 units.

ftatt'm~'~· ftatt~~••~t•z~~9~n•. ••~2 I'U ~ 5m'll1*~ <, 2!U ~ b ;lJ;i'.TliHH·JflH l n· ~.

Category 1, 2LDK, 3F.

Category 2, 3DK, JF-5F Category 2, 2LDK, 5F.

Category 2, 2LDK, IF, for the severely handicapped.

North-south w·tiuu; J<ai': II 1,000.

LOW-RISE BUILDING f:<:!;iW

GroHud jloor; scale: 111,000.

UNIT PLANS IN THE LOW-RISE BUILDING; Scale: 11200.

Category 2, JDK.


2F

1f Category I, 4DK (for multi-generation families, maisonette)

Upper floor.

.I

I,

lF Category 2, 4DK (for m11lti·genemtion families, maisonelle}

!· I

Category 2, 2DK.

Category 2, 2DK.

Category 2, 2DK.

West elevation.

Category 2, 2DK.

Category 2, 2DK.

Category 2, JDK.


(pp. 40-4 I) Nor! ban t.'.rhTtor ~:r tlh' so!t!h nwlium-rist' building. (ltw'ngptt.gc, almzJt) 30-ml'lcr~~~JIIflrc cour{yard, mrroundal I:v lo·w-rise h!otks. (jil(J·IIg ptlgc, bdo11U Wi:stcm side of lih' JO·meler·sq/llm wurlyard. (aboz1c) lnt..-rior o/11 housing unitjacing 1/;e 30-mc/er·sqntll'<' ro u rlytl rd. (bd(;Zt''} Enlmnrc approtldnN~J' lo lo"h"-rist !Jom·inR uni!J.

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eKumamoto Artpolis ~~;$:7-r;f- 1 )A

KAZUNARI SAKAMOTO+ ITSLIKO HASEGAWA+ YASUMITSU MATSUNAGA

Takuma Housing: Master Plan n~;tm-&it~l1lt&·i:it~tillli

W;t-!ilt '-ffi:sJl!i*-=t- • .,:;;,J<P:x

A rebuilding of an older housing development (4 hectares, 288 households, built in the late 1960s), this project provides 375 households and was completed in 3 phases, each 3 years long. The site, which is located in the northeastern part of the city of Kumamoto, is on one side of a bypass surrounded by distribution-industry facilities. There are hills on the northeast, a residential district on the south, and a large supermarket on the north.

The apartment buildings are positioned around a north-south central promenade (Greenway) serving as the plan axis. They are all from 3 to 5 stories tall. The 3 built in each phase plus 2 existing buildings make a total of 11.

The exclusively pedestrian central Greenway serves as the backbone of the entire development. Its width varies to create a number of assembly places-croquet grounds, children's park, plaza, and so on -open to people in neighboring districts.

In an unusual departure, 3 architects participated in all phases of the project from establishing basic policy ideas throughout all 3 construction phases. Ordinarily, when more than 1 designer cooperates on a project, construction phases are divided among the members of the group. In this instance, however, cooperation was much tighter because, th£>ugh the work arrangement entails more difftculties, a diverse overall composition was required.

(above) Site. (rig/JI) General vie-d!-tbe preliminary desigJI stage.

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l h '

\

~c; scale: 112000.

JA 1991-4 HOUSIN G 47

KAZLINARI SAKAMOTO Studio

T a kuma Housing Project l!!i*m1il'Hm:CJJil!! l;&*-/iX,li!fJell£

First floor (Phase 2); scale: 11800.

Staion (Phase 2): scale: 11500.

48 JA 1991-4 HOUS!NG

0

Unit type R

l>i---+--t

Unit type A; scaic: l/200.

Unit type D.

Because of high density and the need to give priority to privacy, apartment buildings in ordinary housing developments tend to be aggregations of dwellings completely shut off from each other. Lacking continuity with surrounding town spaces, both the buildings and the developments they compose seem self-contained, isolated, virtually autistic compositions. ·

Like Common City Hoshida, Takuma Housing connects with Greenway, the main thoroughfare traversing and leading (except for vehicular traffic) outside the development. Our plan introduces the Greenway public space, which connects the various apartment buildings, into the buildings themselves. In other words, the 3 buildings cross or stand along the Greenway or intersect it at right angles. Communal passages (5 meters wide) branching from the Greenway pass through the centers of the buildings. Mostly open to the sky, these indoor passages connect with the buildings by means of gently sloping ramps and staircases. In addition to providing residents with semi-indoor semi-outdoor routes of access, the passages connect with the central Greenway and with roads leading out of the development. The open spaces above them introduce air and light into the apartments and connect private interiors with public (or common) passages. An assembly space adjacent to the central Greenway is located above the intersection of2 of these internalized passages. Though centrally located, in terms of motion lines and space, it is open to the world outside the housing development.

In short, while taking steps to improve the comfort 'of the apartments, this plan attempts to suggest how to plan a housing development with continuity between interior and exterior spaces, connections between public and private zones, and smooth relations between the development and the surrounding region. (Kazunari Sakamoto)

location: Kumamoto, Kumamoto Prefecture architects: Kazunari Sakamoto (Tokyo Institute of Technology) client: City of Kumamoto structural engineers: DAN Structural Design general contractors: Koshin-Fuji JV site area: 35,873m2

building area: 966m2 (building 3), l,OS!m2 (building 5), 703m2 (building 8), 259m2 (assembly hall) total floor area: 3,479m2 (44 houses) 3,785m2 (48 houses) 2,529m2 (32 houses) 417m2 (assembly hall) structure: reinforced concrete void and rigid frame struc· ture; 4 stories floor area ratio: 80.86% building coverage: 23.170/o number of housing: 371 projected completion date: March, 1992 (phase 1), March, 1994

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(pp.50-51) Jforid.< oftbe Pb,li,' !.

tso. 51 to ~11 ji)jm.o,t

6

Ammbly hall (Phme 2), .firs/floor; scale: 11300. Secoud floor.


\ JA 1991-4 HOUSING 53

eKumamoto Artpolis/lffi;$:7-~;f,IJ?,

ITSUKO HASEGAWA Atelier

T akuma Housing Project

Soulh eleva/ion; scale: 11600.

My goal is not producing individual buildings but creating entire environments, like this housing project. Throughout design and supervision, I pursued aims adopted at the outset: investigating of the nature of municipal housing and public architecture and proposing possibilities for their future development. The Japanese residential environment is characterized by fragile wooden architecture and a strong tendency to natural generation. The sudden introduction into such an environment of a group of homogeneous, massive, artificially regulated apartment buildings creates a wo~ld that is isolated from and alien to its surroundings. As time passes, however, life evolves inside and outside the buildings. The trees grow. And, as these things occur, the settlement acquires contingency and irregularity, enabling it to blend gradually into its setting. Possibly part of the appeal of housing developments alive with activity is this strange blending of regulated artificiality and biological natural contingency. Stimulating the unobstructed emergence and overlapping of such conditions ought to be a


major theme in reconstruction plans for housing developments.

For the sake of apartment buildings with a high degree of spatial diversity, I have attempted to use articulation differentiation in the system for repeating housing units. To impart the appear of natural generation in an artificially created structure, I have mixed forms instead of striving for definite regularity. The entire site slopes. And I have made maximum use of the incline in the hope of producing residential boundaries that fit in well with the local environment. I have avoided buildings tall enough to thrust conspicuously higher than the ordinary dwellings nearby. The basis of the assembly method is a system of repetitions of the staircase-room form. The junctional staircases are passages and light and air wells too. The apartment blocks on either side of each staircase are subtly out of alignment. The system of differentiation and repetition results from bit-by-bit horizontal rotation that makes neighbors of buildings of different types. (I tsuko Hasegawa)

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Unit plan; mde: 11200. Unit plan.

Section; Hale: 11400.

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North elevation; scale: 11600.

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location: Kummamoto, Kumamoto Prefecture architects: ltsuko Hasegawa Atelier client: City of Kumamoto structural engineers: Umeiawa Structural Engineers general contractors: JV of Fuji Corporation and Koushin G.C. site area: 35,873m2

building area: 1,077m2 (Phase 1), 955m2 (Phase 2), 954m2

(Phase 3) total fklOr area: 3,555m2 (Phase 1), 2,755m2 (Phase 2), 3,1 04m2 (Phase 3) structure: reinforced concrete rigid frame structure; 4 stories ' noor area ratio: 80.86% building coverage: 23.17% number of housing: 120 projected completion date: March, 1992


8 Kumamoto Artpotis.'!i~;$: 7 -r ;F I J ;;:z

YASUMITSU V1ATSUNAGA/SI<V1 Architects & Plaoners

Takuma Housing Project v

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Elevation; scalt: 11600.

The housing project master plan, which we helped to develop together with two other architects, was proposed as an alternative to the monotonous and monumental townscapes which are the typical result of developments based on Modernist urban theory. In accordance with this master plan, our housing blocks were conceived so as to introduce a variety of ideas derived from the indigenous climate and the traditional life-style of this region.

~ In order to avoid unnecessary fragmentation of

the limited floor area allowed for these public hous-)

J

; ing units, all of the rooms in each unit-except for one segregated bedroom space~are laid out in a manner which allows the rooms to be linked together, to become a spacious single hall which can be used for different kinds of occasions. This kind of space is a tradition still prevalent not only in this region but also in many other regions of Japan.

Tradition is recalled in yet another way: by means of the flexible structural system consisting of layers of horizontal slabs supported by wall-columns, most of the units are provided with openings along three sides~imparting the feeling of free-flowing space which is characteristic of Japanese traditional


architecture. With a diversity of floor plans corresponding to

the complicated program prescribed by the city government, the unit blocks are simply "stuck together" at random angles, forming rather irregular elewtions. Deep eaves and balconies extend around the blocks in response to Kumamoto's climate of heavy rain and high temperature; these projected elements, together with the translucent railing walls, obscure the outlines of the blocks and deprive them of any hint of monumentality, ir; line with the spirit of the master plan.

The "fractal" and rather "fuzzy" design of our blocks was kept amorphous until the last moment of the design process, spontaneously responding to the ever-changing outline of the other housing blocks and the landscape-a process made possible only by means of CAD. If the resulting townscape is somehow evocative of the ambiguous and inscrutable structure of traditional towns in the East Asian monsoon belt where Japan is situated, then we can regard the project as a successful expression of our original intent. (Yasumitsu Matsunaga)

location: Kumamoto, Kumamoto Prefecture architects: Yasumitsu Matsunaga I SKM Architects & Planners client: City of Kumamoto structural engineers: Matsumoto Structural Design site area: 35,873m2

building area: I ,301m2 (building 1), 405m2 (building 4), 637m2 (building 7), total floor area: 5,126m2 (building 1), !,688m2 (building 4), 2,564m1 (building 7) structure: reinforced concrete wall; 5 stories floor area ratio: 80.86% building coverage: 23.170;\J number of housing: 127 projected completion date: March, 1992 (phase 1), March, 1994

1.·.·· ,I

7jpicaljloor; scale: 11500.

Unit type B; scale: 11200.

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60 JA 199!-4 HOUSING

SEJII\J1A Architects &

Saishunkan Seiyaku Women's Dormitory

This dormitory for employees of a local business enterprise is situated in a provincial city about an hour and a half by airplane from Tokyo. Since the :.vomen who inhabit the building, live and study here for only the fmt year of their employment, communal living among 80 people instead of comfortable, well-equipped private rooms received major design emphasis. For instance, providing a large living zone was considered more important than slightly individual living spaces. A spacious common bathroom was preferred to individual baths. As a result of such considerations, each room has been designed to accommodate 4 people, but the communal spaces are as large as possible.

From variations worked out during studies of the relations between private and communal space, we selected the ones in which relations between the 2 were closest in terms of physical distance, framework, and quality of completed spaces. The working plan called for an almost 1 room arrangement in which each person can feel free to use the entire building as an extension of her own private space.

2 dormitory wings, 4 meters from the ground, are positioned on the site long axis. The space between them serves as a general living room. There is a terrace on either side of this space. The large 2-level space that includes the living room also houses entrance hall, manager's office, guest rooms, baths, and terrace.

Because having them open at 2 ends was desirable, the sleeping-quarters wings use reinforced concrete wall~posts and void slabs in 1 direction only. Both sides are partitioned with aluminum sashes with identical cross sections. The structure of the large space consists of reinforced-concrete slabs on which stand round steel posts. These elements bear vertical loads. Horizontal loads are dealt with by means of 5 towers rising from the first story. Toilets are located on the first levels of the towers. Above the toilets are air-conditioning and ventilation equipment, plumbing for the large space, and lighting for the spacious outdoor peripheral zone. (Kazuyo Sejirna)

(facing page) Night viw of the nor/hem exterior.

(63J() ~tll!ll1-lttl't1:.


1 BEDROOM 2 LIVING SPAC€ 3 HALL 4 BATH ROOM 5 GUESTS. RODM 6 TERRACE . 7 ENTRANCE 8 CARETAKER'S 9 LOUNGE •


SectioN. Section.

First floor; scale: 11400.

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location: Kumamoto, Kumamoto Prefecture architects; Kazuyo Sejima Architects & Associates client: Saishunkan Seiyakusho Co., Ltd. structural engineers: Matsui Gengo + O.R.S general contractors: [wanaga-Gumi site area: !,223m~ building area: 851 m~ total floor area: !,254m~ . structure: reinforced concrete and steel frame; 2 stones floor area ratio: 102.5% building coverage: 69.60AJ date of completion: November, 1991

JA 1991-4

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I

BEYOND THE VISIBLE COMMUNITY Kazunari Sakan1oto

I. A Mazelike, Disorderly Community This spring 57 units representing the eastern half of the A2 Zone in "Common city Hoshida", otherwise known as Project HUL, were completed, and they have since been occupied. The community center in the middle was fmished this summer, and construction on the remaining 55 units in the western half of the site is proceeding with completion expected next spring. One can now get a fairly good idea of what the community eventually will be like.

It is not yet clear how the new occupants are responding to the community since only a scattering of comments has been received. In April Mr. Mitst•tada Kato contributed a sympathetic article, describing the community and his impressions of its spaces, to the Osaka edition of the newspaper Asahi Shinbtm. According to him, "a visit to the community is like entering a maze. Roads and special 'greenways' are arranged in a complex manner on the north-facing slope, and the overall organization of the community is diffiCult to grasp, even when one is walking around. There are no straight roads or long stretches of fence. Instead, one encounters only walls of aluminum and concrete painted in pastel colors. These are su~mounted by light, pitched roofs. Nothing accords with our conventional image of a neighbor hood of detached houses. It is almost as if the townscape had evolved naturally over an extended period of time. Ambiguous

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spaces are generated ... " The community, being only half complete, certainly must

appear fragmented and mazelike to a visitor, and its overall organization must be difftcult to understand. Depending on one's viewpoint, the community may even appear disorderly. The seemingly scattered arrangement of the units and the confusing pattern of roads and greenways may suggest a lack of coherence. As I will explain below, no particular effort was made to realize scenic design, and in that sense, there may well be an absence of unity. Perhaps one may discover in the wall planes and pitched roofs an order based on reiteration, but one is not accustomed to seeing these fmishes and forms in residential areas.

A Community with Many Parts Modern new towns are typically not disorderly or difficult to understand. This community is very different from uniformly textured and clearly organized new towns which are based on strong, unifying master plans; the typical new town is all of one thing and does not have different parts into which it might be analyzed. Mr. Kato states that, although the buildings at Hoshida are made of contemporary, manmade materials, "the townscape might almost have evolved naturally over an extended period of time". I understand that there are many other people to whom this project suggests a traditional community, a

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74 JA 1991-4 HOUS!NG

slum settlement, or a community that has evolved without a plan. Such a community, being a collection of small, frag-

. mentary parts, is characterized by dispersion rather than unity. That is probably why people feel that the organization lacks coherence. Moreover, each building responds to the topography and to other buildings, and that has given rise to a smooth continuity of environment. Small, precise adjustments have been made to the buildings and the landscape; as a result, many parts have been generated in many places, and the environment has become very articulated. This space does not have as its premise a unified whole; instead, it is made up of parts, each in its proper place. The mazelike, disorderly quality some people see in Hoshida may be a characteristic of communities built up of many parts, such as towns that have evolved spontaneously, or it may simply be an image created by the assemblage of such parts.

Is a Community with Many Parts a Mazelike, Disorderly Community? I have stated that the community seems maze like and disorderly because it appears as an assemblage of parts. Certainly contemporary as well as traditional communities that are collages of fragmentary parts have been known to cause confusion: However, is a community composed of many parts really a mazelike, disorderly community, and. is a mazelike community a com-

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munity without a structure? As I stated in the beginning, visitors seem to get their impres

sion of Hoshida from its fragmentary parts and the assemblage of those parts. Perhaps what those people need in order to immediately understand the organization of the community is a bird's eye view. However, are the scenes of this community truly fragmentary for the people who live in Hoshida or who have already experienced all of Hoshida? Might not such people see in the parts not fragments but a reflection of the whole community or relationships to other places in the community?

Recently there have been many instances of image-oriented buildings in which the overall composition is fmely articulated in order to break down the scale of large volumes and to give works a graphic expression. This community, too, is articulated, resulting in striking images such as the reiteration of roof forms. However, the articulations in this community were not introduced deliberately to create such graphic images. They were instead generated by the formative conditions of the community or were the result of steps taken to satisfy the program. To understand this, it is necessary to examine the organization of this community. By organization I mean the structure of this community and the way the diverse situations, to which that structure has given rise, have been met. To that let us now turn.

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II. Preconditions and Program The A2 Zone in Common City Hoshida has a clear, simple structure determined by the preconditions and program of the community.

The community, 2.6 hectares in area, consists of 112 units of two-story houses, a community center, roads, greenways, green areas, and streams. The program of the competition for which this scheme was originally proposed asked, "To what extent can houses be attached yet seem detached?" T~~~.r here would have been impossible with truly detached houses;

( ~::s~:u~~ ~~~~~~=~:~ed here, ~~~~c~ will describe below, is one which generat.es "detached houses that are intended to be assembled". !Fle fact that the site is a nor~ing slope with a gradient of approximately 1 to 10 greatly influenced the siting, layouts, and heights of houses, particularly because of the way it affected the units' exposure to the sun. It made a smoothly continuous topographic profile necessary; retaining walls and terraced lots were avoided in favor of sloping land.

Overall Structure The overall structure satisfied these conditions and the program. At the heart of this community is a greenway (i.e. a path

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bordered with greenery) that runs diagonally across the site. This central greenway provides residential areas that lie beyond this community with a short cut to a railway station. It passes through the center of the community (and is oriented in the direction in which the land opens out naturally.). Along it are located facilities such as an observation deck, the community center, a central plaza, and an outdoor meeting area. Branching off this central greenway and following contour lines are many other greenways and green areas. A number of roads come in from the periphery of the site, likewise following contour lines and interlocking with the green ways and green areas, converging at the center of the site. The houses are situated between roads and greenways. There are three streams; one flows along the central greenway running di?~,mally across the site, and the other streams flow east and west. In places the streams are diverted to the periphery of the community. The gradient of the site is used to create different features including rapids, a waterfall and shoals.

Thus the overall structure of the town is fairly schematic and not very complex.

The Smooth Siting of Units and the Generation of the Parts of the Community The idea behind the overall structure of the community is, as I

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have already stated, clear and simple, but since this organization has been applied to a site with undulations, albeit gentle ones, the community is not a self-contained or geometrical entity but rather an organic structure adapted to the natural topography. The 112 units, flanked by roads and greenways that follow contour lines, do not differ much in size, but each lot has a different configuration. These lots are not large enough to provide buffer zones between the houses and the roads and green ways, so many different plans were needed to respond to different situations. The site confrguration, the direction in which the road lay relative to the site, and the presence or absence of a slope inevitably made 40 types of unit plans necessary. Furthermore, when these unit plans were applied to actual sites, the need to assure suffrcient sunlight exposure for the main rooms and to take into account the location of the parking space and the extent and direction of the slope of the lot made it necessary to carry out fme adjustments oflandscape elements such as roads, greenways and streams and to develop approximately 50 types of housing units. (If plans that are mirror images of each other are counted as the same, there are 30 types.)

The different types of units are not a response to different lifestyles or different family compositions; they respond to the different topographical conditions of the lots. This should make it clear that the program, which required that the buildings be

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well adapted to their respective lots, led to the development of the many different housing types. Adjustments were made to provide units with good connections to roads and to assure sunlight exposure, but practically no modifrcations of the townscape were undertaken for so-called "scenic design" reasons. This gives the townscape an unexpected appearance. The arrangement is quite simple and ordinary. Where there is a succession oflots with similar conditions, the units are the same; where the conditions are different, the types are also different. This has given rise to a townscape characterized by diversity.

This community, despite its simple and clear overall structure, is mazelike and diffrcult to understand because many parts have been developed for it.

III. To Live in a House is to Live in a Community It is said that in walking around this community one has a strong sense of the overlapping of space. This is probably due not just to the way units situated on sloping land overlap when seen from a distance but results also from the permeability of the space; the townscape is always visible beyond roads, greenways, side paths, streams, and green areas or through carports and gardens. And perhaps there is an element of cubist overlapping in the external forms of the buildings themselves. This is the space that manifests itself in the townscape. It becomes a part of

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the daily life of the resident and reinforces a sense of oneness with the community.

The unit types that I have mentioned are practically the same in plan. In principle, each lot faces a public space like a road or a greenway in the front and back, and the unit is very open in these two directions; this establishes the basic path of circulation. The L-shaped plan, which takes up much of the lot, leaves a garden. The wall of the unit next door is used visually to make the garden courtyard-like. The garden is not open just in one direction; in addition to being open to a road or greenway, it leads to the built-in carport and from there to the road on the opposite side. Thus the garden is spatially continuous with the public places outside. The main room of the house, which is very open, is located in principle on the second floor. It opens directly onto the road or greenway from an elevated level, thus making the unit, which is small in both site area and total floor area, seem more spacious and making the townscape appear more extensive.

The entrance to each unit opens directly onto the road. Even when the entrance is set back a little, the outdoor space is pulled in so that the private and public spaces overlap and an overlapping of domains takes place.

In this way, each unit communicates directly with the outside, and there is a spatial overlapping of private and public domains.

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The unit communicates not with an enclosed, common space but with a public space which is continuous with the space outside the community. In particular, the main room on the second floor of each unit communicates spatially with this public place. Thus the public space is integrated with the streetscape. The window of the main room in each unit makes it possible for someone on the second floor to relate in proper measure to what is outside, i.e. to see the streetscape and the people on the road and to hear their voices and the sounds of the stream. In this way the occupant will also sense that he or she is living in this community.

The Whole Visible in the Parts, The Whole Continuous with the Parts. I have stated that to live in a house in this community is to live in this community. Of course what is perceptible from each unit is not the whole community but a part of that community. To a visitor, what is made manifest is fragmentary parts or a collection of such parts. However, to the people who live here and are familiar with this little community as a whole, the fragmentary view is continuous with the totality, and it is the whole that he or she is seeing.

The stream that one sees flowing past him at a given spot has flowed from the hill toward the south, forming the edge of a

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linear park which leads into the central greenway, and has then been split into three smaller streams. One of these streams has run along a road or greenway and arrived at this spot, from whence it will flow gently back to the central greenway and, after becoming a cascade in a northwestern corner, pass out of this community. Does not one see the fragmentary part of the stream before one's eyes as a part of the entire course of the stream? Does not one see this road, even beyond one's range of immediate perception, gently curving and arriving at the central greenway in front of the community center? It is an obvious point, but these places relate to other places as I have explained and are a part of the overall structure of this community. In a community composed of parts, each part is a space in which is recorded the relationship of the part to the whole. However, it is only the people who are familiar with the community as a whole that can see each part as such a space. Therefore, a person who has experienced this community and is familiar with it, and a person who is merely visiting for the first time, will see different communities. To the former it is decidedly not disorderly or mazelike; to such a person the community as a whole and its organization are apparent in each partial place. Beyond the Visible Community

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The structure of this community as a whole is rather simple and clear as I have explained. The reason this community appears at first glance to be complex is that its overall arrangement is based, not on geometry, but on the natural topography of a sloping site. That being the basic idea, the units and the landscape have been treated as being of equal value. Again, as I have explained, that has resulted in the creation in this community of many parts. The space that is made manifest is one in which there seems to be no totality. Such a space would be quite contemporary in feeling, but in fact that is not the real space of this community. The space of this community consists of many parts linked together. It is continuous in its flow, from unit to road, or along a stream. This organization and space are implicit in each part of the community. That is because this community is composed of the network of relationships described above.

(translation into English by Hiroshi Watanabe)

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structure: reinforced concrcle ,md Sled frame; 2 stories 1 basement and 2 stOries (meeting room)

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NEXUS WORLD Producer: Arata Isozaki Coordinator: Fukuoka Jisho

Site; scale: 113,500.


Model of the Nexus World Project. (Photo: Courtesy of Fukuoka jisho.)

l OSCAR TUSOUETS BLOCK 2 CHRlSTlAN DE PORTZAMPARC BLOCK 3 OSAMU lSHIYAMA BLOCK 4 MARK MACK BLOCK 5 REM KOOlHAAS BLOCK 6 STEVEN HOLL BLOCK 7 COMMERCIAL BUILDING BY ANDREW MACNAIR B ARATA ISOZAKI BlOCK 9 FOLLY BY ZAHA HADIO

10 FOlLY BY DANIEL UBESKINO OVERALL LANDSCAPE DESIGNING, MARTHA SCHWARTZ

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The housing development known as Nexus World occupies about 5 hectares on the sea side of Kashii in the eastern part the city ofFukuoka, on the southern island ofKyushu. In recent years, the local population has been dramatically increased by growing numbers of people who live in Kashii and commute to work in Fukuoka. To house these people, virtual forests of contextless, medium-rise, blocks of f1ats have grown up, creating the kind of personality-less vista typical of Japanese cities.

The Nexus World project consists of 2 phases, the first of which has been completed. The f1rst-phase area is an inverted L adjacent to roads on the east and south. This land accommodates 192 dwellings in low-rise and medium apartment buildings plus 16 stores. The following 6 architects participated in the project: Oscar Tusquets, of Barcelona; Christian de Portzamparc, of Paris; Mark Mack, of San Francisco; Rem Koolhaas, of Rotterdam; Steven Holl, of New York, and Osamu Ishiyama, of Japan. Arata Isozaki was the overall producer.

In the center of the second-phase site will stand Isozaki's Twin Towers, 2 high-rise apartment buildings. On the east side of the Steven Holl bu~lding will be a commercial building designed by Andrew MacNa1r. Overall landscape designing, including that of a public park, is being handled by Martha Schwartz. Follies designed by Zaha Hadid and Daniel Libeskind are scheduled to stand in the park.

At the start of the project, Isozaki proposed 2 questions to serve as general propositions: "Is true architectural internationalization possible?" "Is a new collective form-that is, urban

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creativity-possible?" Feeling the rigid, traditional European master plan has no place in Japanese circumstances, Isozaki roughly established placements and volumes and left architectural forms up to the designers' discretion. During repeated discussions of this practically experimental project, the architects adjusted and corrected mutual relations emerging during the intermediate process. While doing this, they evolved

own independent designs. For a long time, architects had little or nothing to do with the

design of apartment buildings in Japan. And very little noteworthy was forthcoming in the field. Singularly stereotyped box apartment blocks with fixed-pattern f1oor plans sprouted up everywhere. In contrast to these developments, Nexus World sets out to provide diverse residence plans to suit the needs of various life styles. In other words, its apartment buildings generate the feeling of individual houses. Communal zones and such circulation spaces as corridors and staircases are plentiful and varied. Participation in the project by architects from the West, where the apartment-building tradition is old and established, made it possible to transcend existing Japanese concepts and provide intensely individualized spaces with impact. In this sense, Nexus World can be said to indicate new possibilities for Japanese apartment buildings of the future. Moreover, the look of several residences grouped together generates fresh spaces in a formerly contextless city. It is to be hoped that Nexus World will stimulate more projects that interpret architecture on an urban level, thus transforming the Japanese cityscape.

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ONexus World Kashli/:j',?-!f.A'J-IW§'lil:

STEVEN HOLL Architects

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28 dwellings are arranged in a comb-shaped plan around 4 open courts facing south. In the secondstory court on the south side, a pond, the bottom of which is spread with black gravel, projects a sense of emptiness. Light reflects into the dwellings from the surface of the water, which, at the same time mirrors objects and events taking place around it. These open courts are paired with covered courts on the first story north. Connected with the central park, the covered courts provide meeting space and a play zone for children.

Void spaces like these are one of the main concepts of the project. They function in many ways both practically and visually. They mitigate visually between unit interiors and street spaces. As public zones, they are extensions of the units. Moreover, they make ii possible for each unit to have openings in several directions.

Keeping the comings and goings of people always in mind, the designer planned passages that are more than mere access: they are venues for diverse expenences.

The residences are of 5 different types. Their plans are either L or I shaped. The 2-story maisonettes are designate D for double. There are 5 combinations of plan and elevation (DI and DL) and 18 variations, determined by the location and conditions of the unit within the building. To suggest spaciousness while maintaining continuity, the levels of the maisonettes vary by half a story.

Inside the units, the concept of hinged space modern application to the versatility of the

traditional Japanese fosuma sliding panel. Light, colorful, wooden walls turn on pivotal hinges, making it possible to combine or isolate spaces according to hour, season, and family makeup.

First floor; scale: !1500.


Unit types.

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Third floor.

Second floor.

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Second floor.


Third floor. I COVERED COURT 2 SHOP 3 BEDROOM 4 KITCHEN 5 DINING ROOM 6 tiVING ROOM

Type DJ; scale: 11200.

(pp. 94-95) Exterior view from the south. (pp. 96-97) Opm courts spaces on/be smtli! side. Sunlight is rej/ectul by the shallow pools. (above) Vie-& of the north side from the parking lot, showing a series of covered court spaces. Residents approach their apartmmts by stairway. (facing page) Walkway on the fifth floor.

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location: Fukuoka, Fukuoka Prefecture architects: Steven Holl client: Fukuoka Jisho structural engineers: Kusaba Structural Engineers general contractors: Shimizu Corporation site area: 2,872m2



structure: reinforced concrete; 5 stories floor area ratio: 147.72% building coverage: 53230fo number of housing: 28 date of completion: March, 1991

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eNexus World Kashii/-i'-71t.A'7-M''i!Hii:

REI\!1 KODLHAAS/Office for Metropolitan Architecture

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The design reflects the architect's long-held interest in a kind of composite dwelling that is neither a cooperative nor a collection of single-family houses. In this instance, 24 independent, 3-story dwellings are contained, 12 each, in the Rem and Koo!haas buildings.

From the design stage, the heights of these buildings were restricted. The decision to do this was in· fluenced by Arata Isozaki's futuristic "sockle" foundation concept. Distinctive black-concrete external walls imitate the massive. stoneworks of Japanese castles. They create an enclosed plan and ensure privacy by blocking sight lines from the Twin Towers. Ramps approach each dwelling from the north. Each is completely isolated from its neighbors by walls. Rising vertically, the dwelling surrounds its own inner garden space, which admits light and breezes into a,n otherwise enclosed environment.

Dwellings are of 2 types: maisonettes with a 3-story open zone and apartments with a 2-level terrace. A private rock garden and entrance foyer are on the first .story, bedrooms are on the second, and living and dining rooms are on the third. A steep staircase connecting the 3 stories reveals different situations at different levels.

The facade is distinguished by strong contrast between the strongly vertical orientation of glass and sashes in the first-floor shop section and the massive upper walls, from which the wavelike forms of the roof are partly visible. Four kinds of glassclear, frosted, blue, and wire-reinforced-make a virtual collage of the third-level windows.


6

Third floor. Second floor.

Maisonelle type; scale: 11200.


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1 DINING ROOM 2 KITCHEN 3 LIVING ROOM 4 STUDY ROOM 5 ROOF TERRACE 6 BEDROOM 7 BALCONY B ENTRANCE 9 INNER COURT

10 PARKING 11 SHOP

I Second floor.


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(pp. 106-107) Exterior vi,-,;; from soulh, Rem Building left and Koolhaas Bui/di},g (above) Sew from above, the softglow of !he interior lighting)'ields 1111 impressive view. (Photo: Courtesy of Fukuoka jisho.) (facing page) The jtw1de of the Rem Building seen from tl!t" east. Tht· apar/mmt cntmnce.; me approached b)' rtllllf'W!IJS.

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location: Fukuoka, Fukuoka Prefecture architects: Rem Koolhaas client: Fukuoka Jisho structural engineers: Kusaba Structural Engineers general contractors: Maeda Corporation site area: 3,471m2



structure: reinforced concrete; 3 stories floor area ratio: 166.620/n building coverage: 59.20% number of housing: 24 date of completion: March, 1991

JA 1991-4 HOUSfNG

)A 1991·4 HOUSING

(pp. I /0-///) Anticipating tbc erection of !Jozaki:< Twin Towers to the norJb, the living spaces are closed off to that side. Natural lighting and ventilation are achirocd by means of inner courts. (leji) The inner court sm1 from the mtrance. japamse tmdi· tiona/taste is expressed by tbc white gravel and bamboo. (facing page) Looking up through tbe three· story inner court.

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8Nexus World Kashii/1'-:~rtt?-'7-J~f'l!i'!ll:

MARK MACK/MACK Architects

Mark Mack Block <-7·?·:;7t!l!

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The Mark Mack B!lilding stands at the intersection of the east-west commercial street and the northsouth residential street. In consideration of this situation, it consists of a large and a small wing attuned to the commercial-residential duality of the surroundings. The two are connected at their corner sections.

The L-plan, low building facing the residential street is finished in red stucco and is therefore called the Red Building. Facing a tile-paved public plaza, it houses shops on the first level and flats on the upper levels. Conceived on the familiar townhouse scale, it has no elevators. Wooden window sashes provide a note of warmth. The nature of a corner site dominates the plaza, with its small hill fitted with sprinkler equipment.

The larger Slab Building stands on the commercial street. Its bright yellow walls and aluminum spandrels contrast sharply with the appearance of the red building. The Slab Building houses shops on the first story and 2-story apartment on the upper levels. There is a court-house rooftop terrace. The semipublic inner garden on the artificially created land platform behind the buildings is allotted among the residents.

Nonstandardized interiors varied to suit residents' life styles offer diverse spatial compositions. Mark Mack had a hand in designing everything from furnishings to built-in cupboards. Variations in composition, materials, and scale individualize each apartment. Amenities have been diversified to suit the needs of the inhabitants.


Section.


4 11

Sixth floor of a unit plan; scale: 11200.

Roof.

J, I I

ioc.Hion: .Hchnects: M.uk client: Fukuok1 Jisho structural engineers: Kusaba Structu:-a! Engineers general Ando Corpor.ltion s1te area: building area: 1,551m2

total floor are.~; structure: reinforced concrete; 6 stories floor .uea ratio: 14931% building 5 L32% number 28 date of completion: March, 199!

(pp. l/8-l/9) View ftom the south-east tillemction of the commercial street and the residmtia! street. Tbe plaza is situaled in front of the red building.

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dininK T11om .... ·JII jlaniwr,· tks(~u wlor ID' Mark ,lJr~,k (j;lcin,g page) ou (abwe} View tbe /a/ami room seen from tbe (/!doze) Bedroom.

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OSAMU ISHIYAMA Laboratory, Waseda Univ.

Osamu lshiyama Block :f:i'lllil~ili:lW.

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A red building by Mark Mack is on the south of this site. On the north are Portzamparc's golden Tempietto and black Mountain buildings. A major point in the of this building was determining the kind of relations it should have with these and with the many other colors and forms of Nexus World.

To ensure good natural lighting, the project has been conceived of as a group of 3 buildings-the Banana Building, the Pineapple Building, and the Coconut Palm Tower-dispersed over the site, which is long in the north-south axis. The Banana Buildings stands atop an artificially created hill. In keeping with its name, it has as an arc-shaped plan partly surrounding an inner garden space. The lowrise Pineapple Building and Coconut Palm Tower too stand on the of this garden. !den-

Firu floor; ;wle: 1/600.


tically formed roofs topping 3 buildings with different forms create a gently ordered skyline. Twisting and leaning, the buildings establish an overall forestlike relation.

New industrialized building materials have been minimized, and natural materials like clay tiles and persimmon-stained wood have been employed to the maximum extent. The rejects the approaches apparent in both standardized public housing projects and superficially splendid private apartment buildings in Japan today.

Of the 6 architects participating in Nexus World project, Jshiyama is the only Japanese. Perhaps for this very reason, his interiors manifest a Japanese mood without lapsing into either orienta!ism or the Japaneseque.

location: Fukuoka, Fukuoka Prefecture architects: Osamu lshiyama client: Fukuob Jisho structural engineers: Moritani Structure Consultant general contractors: Ando Corporation site area: 3,298m2

building "ea: I ,351m2

total tloor area: 5,55'1m' structure: steel frame and reinforced concrete; 8 stories floor area ratio: 148.200/o building coverage: 40.98% number of housing: 40 date of completion: March, 1991

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Sec/ion; scale: 11600.

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l KlTCHEN 2 LIVING ROOM 3 DINING ROOM 4 "MAENIWA' 5 BEDROOM 6 BALCONY 7 JAPANESE STYLE R00lv1 8 PARKING 9 SicDIO

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(facing page} The firs/ floor of !he Banana Building, looking /owards !he "maeniwa "(= fronl yard) from/he "uchi-dori" (= inner passage}. (a/Jove} Tjpicalliving room inlhe Banana Building, wilb !he dining space beyond. (below} Looking back /owards !he en/ranee from !he "uchi· dori':

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Atelier d'Architecture CHIRISTIAN DE POLTZAMPARC

Christian de Portzamparc Block 71).7, 'f'r!/• "'. #Jl---if/1 ~Jl--7t*

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This housing settlement consists of 4 buildings (2 Frame buildings, 1 Mountain building, and 1 Tempietto building) and exterior spaces divided by waterways. The 2 white Frame buildings are aligned along a road. They have rectangular plans and face each other across a courtyard. The first-floor zone constitutes a kind of partition separating the street from the site, thus converting the isolated interiors of the Frames into something like theatrical stages. Because its black concrete walls are randomly studded with crushed granite tiles, the massive Mountain building serves as a truly mountainous-looking background. This novel way of dealing with external walls arose from 2 considerations: the concept of a dark archaeological, organic mass and the idea of allowing the windows to project beyond the walls.

First jlaar; scale: 11500.


The Tempietto building is a small, gold-colored, metallic tower standing in the garden. Though alone, it is not self contained but plays a part on the stages created by the Frame buildings. Its basic image is one of floating suspension. Consequently, approaches to the apartments are 3 levels above the ground. In the 3-story maisonettes, en trance halls are on the second, living and dining rooms on the third, and bedrooms and baths on the fourth story. Windows in 4 direction make these very open dwelling spaces. On the fifth story, where there is a /a/ami-floored guest room, a covered-bridge corridor connects with the Mountain building. The circular metallic gold-roofed pavilion on the roof commands a 360-degree view of Nexus World.

Interiors are thought of as organic and harmoni· ous related to exteriors. Each is individualized on

the basis of the building in which it is housed, its relations with other buildings and the surroundings, lighting, and views.

Gardens and courtyards in these 4 buildings are important to the whole Portzamparc proposal. Similar in mood to a traditional French plaza, the courtyard is decorated with geometric patterns in white, wash-exposed gravel. Private from the stand· point of nonresidents, this zone is public for the residents. Japanese gardening principles and perspective govern the design of the garden isolated by a canal.

A FRAME BUILDING

E253~138 B MOUNTAIN BUILDii':G C !EMPIETIO BuiLDING

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1 LIVING ROOM 2 DINING ROOM 3 KITCHEN 4 BEDROOM 5 JAPANESE·STYLE ROOM 6 ROOF •EARACE 7 BALCONY 8 SUNROOM 9 ENTRANCE

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JA 1991-4 HOUSING

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(above) Bridge connecting the Tempiello Building and the Mountaitl Building at the fifth floor level. (righlj Canal between the Frame Building and the Mountain Building in the courtyard. The building by Oscar Tusquets is visible in the background.

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location: Fukuob, Fukuoka Prefecture architects: Christian de Portzarnparc client: Fukuoka Jisho structural engineers: Kusaba Structural Engineers general contractors: Fujita Corporation site area: 3,627rn2

building area: l,l47nl total floor area: 5,968m1

structure: steel frame and reinforced concrete; 10 stories floor area ratio: 148.46% building coverage: 3!.62% number of housing: 37 date of completion: March, 1991


CD Nexus World Kashii/:j'.:Jif:J-'7-JL+~!lf

OSCAR TUSOLI ETS / T usquets, Diaz & Associates

Oscar Tusquets Block ;t?-;1]-· h:A-'rfll! ~ry?-Jr=7'o7'?- & TJ'/I1"J

Located at the northern extremity of the plan site, the Oscar T usquets building faces a park on the south. Because of these site conditions, the 2 wings of the building are arranged symmetrically along a street with an entrance arch constituting a passage to the park. In the plans of the other architects, block topology, with buildings aligned parallel to the street, tended to drop from consideration as time passed. Oscar Tusquets however, adhered to it to the end.

Owing to the similarity he sees between the climates of Spain and Fukuoka, he employed styles found in traditional Barcelona group dwellings.


Consequently, a number of features give the exteriors a decidedly Spanish quality: red brick tiles with white joints, Spanish roofmg tiles, cornice ornaments, window shelves for flowers, stained-glass windows in the 3-story spaces at staircase landings, and so on. Out of respect for privacy, no dwellings are positioned on the first story, which is taken up with stores and parking spaces. This too is in keeping with Spanish tradition.

Although most of them are flats, the 35 apartments include 2 maisonettes and 5 apartments with roof terraces. The floor plan of each is symmetrically laid out and, in contrast to the Spanish exte-

• 10 •

First floor; mtle: 11600.

riors, follows familiar, established Japanese arrangements.

Respect for craftsmanship is evident in the interior decoration. Meticulous finishing reflects the particular concern of Tusquets, who has tried his hand at industrial design. He proposed designs for furniture, carpets, and lighting ftxtures and even designed such small items as name plates, interphones, and mailboxes. Through emphasis on materials and techniques and a warmth and savor of a kind that is now on the vdge of oblivion, Tusquets' architecture suggests new possibilities for urban housing developments.

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(above) Vi,1ii towards tbe East \1/'mggatejromi!JC inner patio space. Exterior wall: brick tiles and exposed concrde<11ith paint finish. (facing page) The East Wing gate.

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154 JA !99J.4 HOUSING

Roof

·1 ENTRANCE 2 KITCHEN 3 DINiNG ROOM 4 LIVING ROOM 5 BALCONY 6 MASTER SEDROOM 7 WESTERN-STYLE ROOM 8 TERRACE

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location: Fukuoka, Fukuoka Prefecture architects: Oscar Tusquets client: Fukuoka Jisho structural engineers: Kusaba Structural Engineers general contractors: Hazama Corporation site area: 3,487m2

building area: !,676m2


structure: reinforced concrete; 5 stories floor area ratio: 148.11°/o building coverage: 48.08% number of housing: 35 date of completion: March, 1991


F'UKUOKA, PHENOMENOLOGICAL 0 • •

Steven Holl + Hideaki Ariizumi

HA: Although the front elevation of the Fukuoka Housing Project has a strong 6gure which reminds us somehow of"Karl Marx Hof," Vienna, I want to conftrm that this building is not a building which has a formalistic composition as its main theme. Indeed I can't ignore the fact that Formalism has fundamentally led architectural design especially after Modernism lost its original power.

The facade was the consequence of considering intermediate spaces, particularly the "void space." As it was noted in the description, the "void space" could respond to many new, practical and spatial functions for urban housing, such as a "spatial and visual buffer between inside of the units and street," "sharing the public space as an extension of unit space;' or "giving to each unit many different directions and long length of exposure;' and so on. However, these practical functions are one side of the "void space!' The other side is the spatial quality itself in relation with the "phenomenological space" which is your main conceptual context.

I want to start with questions about "water" which is one of the most important elements of this "void space." Tracing your former works, I can fmd not a few projects characterized by

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water, such as follows. Sokolov Retreat 1976 (6g.l) Gymnasium-Bridge 1977 (6g.2) Pool House 1981 (ftg.3) Van Zandt House 1983 Milan Project 1986 (ftg.4,5) Edge of a City-Manhattan 1990 (ftg.6) Palazzo del Cinema 1991 (ftg.7) Texas Residence 1991 (6g.8,9)

It seems that water is a very important material for your space. Do you have some specifte image or memory about water? What is the role of water in your realized spaces and in your imaginary spaces? SH: "Water" plays a central role in many of our projects, and this is quite intentionaL

Growing up on the edge ofPuget Sound, a huge inland body of water in Washington State, I have always been moved by how reflections in water magnify all the natural phenomenon. The changing color of the sky, the movement of clouds, the wind or absence of wind in a rolling mirror surface are all amplified by the body of water. At night I remember sitting for hours by

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Fig.2 Gymnasium-Bridge, 1977


fmlight watching the huge yellow moon rise above the bay in the autumn.

The zipping pinging sound of rain on water gives the calm expanse scale in the nodal lines of each rain drop.

The "Sokolov Retreat" being a project under water was not my ftrst project which amplified a connection between water and architecture. In 1975 when I worked for the Landscape Architect Lawrence Halplin, I designed a huge public fountain in the form of a s~bmerged building with water rushing into the rooms (built in Flint Michigan, 1975). (fig.10)

In the "Gymnasium-Bridge" project the program connects to the different states of Liquid, Solid (freezing hard for the ice skating area) and Gas (boiling to steam in the steam rooms).

As our bodies are over 90%water and water covers 3/4 of the earth, I don't feel I'm doing something unique in intertwining architectural space and water. Water remains important in its reflective ability to touch the mind and spirit. HA: "Light" also seems very important for your space·s in relation with water as well as itself. Examples can be found in such projects as;

Berkowitz House 1984 (fJg.l1,12)

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164 JA 1991-4 HOUSING .

Pace Showroom 1986 (fig.13) Edge of a City-Phoenix 1988 (ftg.14)

I would like to ask the same questions about "sun light." SH: "Light" and the movement of the sun in the time of a day are, for me, a central concern for architecture. From the scale of a room to a city, the quality of light is quite different according to locale. For example, the long twilight hours in the northern places like Seattle offer a long caesura between the time of day and night for recflective transformative thoughts.

In a phenomenological basis for new architecture, light is a central aspect in the understanding and experience of space. HA: Both water and light are the elements of nature which affect the space or building, changing its image, giving it a natural movement. On the other hand, you have several works which were inspired by literature or verbal fantasies and images, such as;

Autonomous Artisans' House Bridge of Houses Berkowitz House Hybrid Building

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Fig.6 Edge of a City-Manhallan, 1990

Fig.8 Tcx,ts Residwce, 1991 Fig.9 Texas Residence, /991


What is the position of these verbal texts in your design? What is the relationship with water or light, if it has one? SH: Words are important in articulating a clear concept unique to a site and circumstance. As each project is a new beginning, I do not initially begin with texts, but in some circumstances they clarify and densify the direction of the design. In crystallizing the aim, the text is an invisible thread connecting the architecture in a whole which is greater than any ,of the individual parts. HA: I also want to mention the important role of diagrammatic thought in your design method.

In the Fukuoka Housing Project, we designed its section with two different considerations' combination. One can be seen along the long section of this building. This is the "continuity" or "repetition," which appears as different sequences when one walks through the building from east to west or west to east. The other can be found in the short section. That is "differentiation" or "relationship" among spaces. Two voids make a set of "void spaces." One is an open court, using water to create a sense of calmness on the second floor. The other is a covered court, using a gravel surface, supporting activity on the ground level. Two

Bridge of Houses 1981 (jg]16)

Berkowitz House 1984

Hybrid Building 1981-88 (jg}l7, 18)

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voids are located side by side in a contradictory relationship. Three passages are located in totally different positions within

the short section. The second floor level passage is at the bottom corner of the open court, having a street view over the water surface, and a park view through the covered court under its ceiling. The third floor level passage is above the north side of the covered court, having a horizontal park view. The fifth floor level passage is beside the top corner of the open court, having a sky view. In the short section, the spaces are characterized by the way they are reconnected with the outside world. In the long section, the spaces are composed with a self-referential spatial order. The overlapping of these spatial diagrams inhere in these simple spaces.

When You presented the "Milan Project," you proposed interesting diagrams which you called "Correlational Charts" (fJg.19). I think that diagrammatic thought is supporting both interrelated compositions and clarity in your design.

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I Fig./2 Bakowilz House, 1984 Pbolo: Paul \Varcbol Fig./4 Edge rif 11 Ci{y-Pbomix, 1988


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(Golden Section) which sometimes makes your designs look similar to the images by Mondorian or the designs of Gerrit Rietveld.

From the point of view which considers non-formalistic design, both diagrammatic thought and the rule of Architectural Proportion must have an interesting role in your design, since these methods can able be used for formalistic design by their direct relationship to forms. What are the roles or the strategies of these concepts in your design? SH: I do not begin with "general strategies" in design and in fact hope to start a new language of elements with each project. The simple forms allow the phenomenal aspects of light, reflection and spatial overlap in movement to occur as primary expenences. HA: Like one of Adolf Loos' trials (Raum plan), we designed the setting of units in a very complicated way, which is like a Kumiko Zaiku; wooden toy composed with small pieces combined in complicated ways to figure a simple shape in total). This complexity made it possible for the units to be independent of each other, as well as offered varied spaces and vistas within each unit. In terms of the relationship between the whole and parts,

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the image which consists of a simple box with a complicated and mysterious inside is very interesting.

In your projects, I am very interested in the combination of the complexity and simplicity. Now, what is your emotion that makes this competition of complexity and simplicity? SH: My desire for an outward simplicity in architecture is perhaps a reactionary stance to today's architecture of Historicist pastiche, and chaotic assemblage.

An urban aspiration in a simple, space-forming architecture may have intense and interesting interior dimensions. This material and detail intensity occurs in the spaces that the user inhabits rather than as elements on an exterior facade. HA: We had two main concepts in Fukuoka Housing. One is "void space" which we talked about already. The other is "Hinged Space" which is a transformable space using "Hinged Panels." Usually planning tends to give order to the space. On the contrary, "Hinged Space" is aiming to eliminate the space which is assigned one stable order. I can fm~ non-formalistic design again. What do you think about this point? SH: I am excited by the "participating walls" of the hinged space concept. Today we see many floor plans full of angles with

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INTERVIEW ------------------ ---------

the argument for an architectue reflecting the "dynamic flux of our time." Yet, these are static angular walls ftxed by the architect-a frozen chaos imposed on the user. With "hinged space" the hundreds of angles in the plan are in the hands of the inhabitant to manipulate. This hinged space, for me, is more unstable, more in a state of flux than chaotic ftxed plans. HA: In the Fukuoka Housing Project, we tried to design the Hinged Panels as a material in between walls ;nd doors. You also tried the Hinged Panels in several former interior works. These Hinged Panels were, I think, inbetween doors and cabinets. Therefore, wall, door and cabinet can be melted into a Hinged Space System theoretically. The idea of Hinged Space is attacking the conventional categories of wall, door and furniture.

This idea also has an interrelationship with the idea of "Architectural Proportion" in terms of its sense of scale. One single system covers both tiny and large scales. Now this can be also ambivalent. Hinged Panels can transform the space in many ways, on the other hand, the same idea occupies the space from the larger scale to the details. What do you think about this ambivalence? SH: This "connecting of differet scales" with a concept is what

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I am aiming at in a clear basis for an architectural work. It aspires to an idea unifying a piece of architecture which exists parallel to the experience of the spaces. An idea may never be fully understood by a user, and yet, if the spaces, materials and details are focused, it can be sensed and appreciated. HA: In the end, I want to mention about your "Edge of a City" projects. When we were in Fukuoka for the last check of the construction, we had a conversation about "what can be the edge of Fukuoka?" The conversation was really short yet interesting. (It is true that the conversations we had throughout the design process Were amazingly short!!) My opinion, at that time, was that "the clear edge which clariftes city and rural zones cannot be meaningful in the situation of Japan," "Because the nature itself was transformed by human agricultural activity, also nature existing in the context of culture" and that "The only image I can imagine is that the edge consists of a series of spaces visually penetrating each other from a close to a farther place, which we can fmd in the spatial configuration of the Fukuoka project." After all, we put the Fukuoka project into the exhibition as a member of the "Edge of a City."

From the point of your "phenomenological" design method,

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Fig.20 Museum qf Modern Art, Tower Apartment, 1986 Photo: Paul Ward;o/

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the Fukuoka project and other "Edge of a City" projects have a common base, although the configuration of the Edge was still left in a different condition. What do you think about this point, considering your main theme of the "Edge of a City" and probably the Japanese situation as you found it now? SH: The "Edge of a City" projects made for the Walker Art Center series "Architecture Tomorrow" were an attempt at posing questions about the future of the landscape in relation to development. I feel these are unresolved issues and the exhibition posed questions. In that sense, the Fukuoka project is important here for it accepts your point about the nearly continuous development in Japan, and turns our thesis inside-out.

What is bracketed off in the void courts is the natural world or its surrogate-with the ponds a phenomenological lens toward the sky. (This interview was made in july and August 1991, using a letter format)

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i I J:

YASLIM ITSU MATSUNAGA/SKM Architects & Planners

Ys Court Nakahara Y's COURT NAKAHARA

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When we were commissioned to design this project, the client-a developer-defined two primary objectives: to provide an ideal dormitory environment for his own company's staff, and to create a design which could serve as a model for this building type, now in high demand among companies in Japan as a very viable means of attracting the everdecreasing young labor force. For our design team this kind of project was a continuation of our previous studies in the fteld of collective housing.

Generally speaking, the common perception of collective housing has had strongly negative connotations in Japan in comparison with individual dwellings because of the over -exaggerated merits of privacy and exclusive ownership of land. However, soaring increases in land prices have forced more and more people to live collectively, and we have been involved in a number of housing projects in search of the more positive merits of living together.

The site is located in a mixed-use area in Kawasaki nicknamed the "Japanese Silicon Valley". The only requirement prescribed by the client was that the facility must house approximately 50 unmarried employees. Within the tight envelope stipulated by strict zoning regulations, efforts to provide rooms with maximum exterior exposure resulted in a hollow oval building form with a lofty atrium space at the center. This atrium space connects all internal corridors and symbolizes the integration of the residents living on different floors.

Each of the private rooms has its own shower room, walk-in closet and bakony. In addition there is a communal dining hall, lounge, sauna, jet-bath, swimming pool, exercise room, game room, automated parking system and other amenities which appeal to the life-style image of modern young Japanese. Within this environment the residents here could imagine themselves staying in a resort hotel; in this land of sky-high property values, to live in collective housing may be the only realistic way for young people to experience and enjoy this kind of leisure living. (Yasumitsu Matsunaga)


I

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Site; sCilfr: !1800.

Sectio11; smle: 11400.

T:ypical room. Smle: 11200. Wcstem style room.

1 ATRIUM 2 PRIVATE ROOM 3 lOuNGE 4 CORRIDOR 5 DINING HALL 6 KITCHEN

Typictl! floor.

7 CARETAKERS OFFICE 8 BREAK ROOM 9 PARKING

10 EXERCISE ROOM 11 SWIMMING POOL 12 SUNKEN GARDEN 13 BATH ROOM I 4 MACHINE ROOM 15 GAMe ROOM 16 OPEN

japanese style room.

Bas;_meill; latle: 11400.


(ab011C) Exterior vie·w from south. (facing pflgc) Looking up at the entrance facade.

U.i rliiWH!!. 11110 .:<.;.. f 7:.-~tli..Lrf~.


JA 1991-4 HOUSING/ 175

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location: Kawasaki, Kanagawa Prefecture architects: Yasumitsu Matsunaga/SKM Architects & Planners client: Yuraku Real Estate Co., Ltd. structural engineers: Ichiro Murakami/Structural Engineers general contractors: Taisei Corporation site area: !;434m2

building area: 588m2


structure: reinforced concrete; 4 stories and 2 basements floor area ratio: 196.07% building coverage: 41.04% number of housing: 48 completion date: March, 1991

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]A 1991-4 HOUSING 179

CHAii~ES VV.MOORE and l\lloore Ruble Yudell A.rc1Nects & Plarmers(Oesrgn I\IIITSUI Construction Co., Ltd. (Working

Orchid Court, Phase 1 ;t-~'\'·;~f':J-~ill'\ I Jljj

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The aim of this development is to provide 290 families with an elegant way of living while making the best use of the splendid natural setting on 35,000m1 of land in Kobe. The realization of the aim was entrusted to the well-known American architect and a landscaping designer, Charles W. Moore of Moore Ruble Yudell, Architects and Planners (MRY). The site is on the shore of the Sumiyoshi River. Behind it rises the Rokko Mountains, and before it stretches the Seto Inland Sea. The topography is richly varied and graced by a stream of spring water. After visiting the site in April, 1988, Charles Moore proposed the following planning concepts.

( 1) From the Mountain to the Sea. (2) Water as a Unifying Element. (3) Informal Path and Formal Path: Nature and the City. (4) A Rich Diversity of Spaces and Places. (5) A Clear Expression of the Site Topography. (6) Landmark Q.Ialities. (7) A Richness of Landscape Experiences. (8) A Richness and Diversity of Housing. (9) Unity and Diversity.

The subsequently evolved master plan calls for 7 apartment buildings surrounding 7 gardens that are positioned along the two intersecting axes: an informal (natural) axis and a formal (urban) axis. MRY was commissioned to produce the master plan, designs for the facade and lobby interiors, and landscaping. While this work was being done,Japanese teams developed building and apartment plans and interior designs. Beautiful silhouettes (suggestive of mountain ranges) of apartment buildings, a calming 3-story composition, and abundantly varied sashes characterize the architectural elevations. A subtle color scheme too plays an important role. The design suits diverse needs by ensuring variation in plan and views for each apartment unit. One of MRY's major task was harmonizing and integrating architecture and landscape- houses and gardens. Some of the devices used to achieve the desire and include central location of the high-rise structures, placement of low-rise structures and spires adjacent to streets and gardens, provision of corridors and terraces on the first levels of buildings adjoining garden spaces, and construction of pavilions serving as landscape accents.

(facing page) Detail of lbe soutbwes/ facade. (18110 ~~~l<illlilli'i!~l7 r"'T- r:m;>r.


Conceptual sketch by OJarlcs \V. Moore. 1-"'r-1¥7.' · t.-i!:l.Ofl!t;'Z:'::::Vr?T,

Site; scale: 1/2,000.

Eixbib{loor.

Sixlb floor.

Second floor.

scale: 11800.


' ' ' ' ~:!:. .... -!\

Homing Unit I; swle: 11200.

Soutb elevation.

West elevation; scale: l/800.

Homi11g Unit 2.

location: Kobe, Hyogo Prefecture architects: Charles W. Moore and Moore Ruble Yudell Architects & Planners (design architects) + Mitsui Construction Co., Ltd. (working design of phase 1) clients: Mitsui Real Estate Development Co., Ltd.; Haseko Corporation; Kawasaki Heavy Industries Ltd.; and Mitsui & Co., Ltd. structural engineers: Mitsui Construction Co., Ltd. general contractors: Mitsui Construction Co., Ltd.; Haseko Corporation; and Mitsui Harbour arid Urban CorlStruction Co., Ltd. site area: 35,586m2

building area: 2,393m2 (Phase 1) total floor area: 14,508m2 (Phase I) structure: steel frame and reinforced concrete; I basement, 9 stories (Phase I) date of completion: March, 1991 (Phase 1)

]A 1991-4 HOUSING 183

'

J 184 JA 1991-4 HOUSING

(above) First floor entrance hall. The main mtrance is in the left background. (facing page, above) Two vic1us of i ntuiors in a typical housing unit. Photos: courUsy of Mits11i Construction Co., Ltd. (facing page, below) View lowardslhe main entrance from/he entrance ball. U.:l 1 Hi"-" f 7 ;.- ~"'-1>. (d·iu:lil:iFffii:Y:II!Ji>'IJ 6. 08HU:J ltt"l'l1 ;.- f ~ 7 2 1:<. 1JJW1!!\: :C:Jf!t:1 087rCfl ~;,- ~ 7;,- :u:•-,v! 1 ltElaif:l~IJi!I~Ji'~6.


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FUMIHIKO MAKI/Maki and

Hillside Terrace Complex, Phase 6 f"I:I!:w*iifi'€~tiWl'il6ltll

llX*£ii~t@i~J':BpJi

Nearly 25 years have gone by since initial planning on the first phase of the Hillside Terrace project. The completion of the present sixth phase in 1992 will mark the passing of a full quarter of a century.

The following is a brief breakdown of the history of the project. Phase I Hillside apartments and shops;

completed in October, 1969; Maki and Associates

Phase 2 Hillside Terrace, apartments and shops; completed in May, 1973; Maki and Associates

Phase 3 Hillside Terrace, apartments and shops; completed in December, 1977; Maki and Associates The Danish Embassy; completed in October, 1979; Maki and Associates

Phase 4 Hillside Terrace Annex, buildings A and B; offices and apartments; completed in December, 1985; Studio Architectural Planning

Phase 5 Hillside Plaza; completed in June, 1987; Maki and Associates

Phase 6 Hillside Terrace, apartments and shops; scheduled for completion in 1992; Maki and Associates

Unlike its predecessors, all of which are on the north side, the site of the phase-6 plan is on the south side of the street. In addition, in April, 1990, the neighborhood in which the buildings are


located was redesignated exclusively as a class-2 residential area. Whereas building heights in class-! residential districts are limited to about !Om, increased floor-area indexes in class-2 residential districts plus increased commercial-use areas resulted in the lifting of the 10-m restriction. Stipulations about facade recession from the site line in upper levels, however, remain in force. The phase-6 buildings intended to follow the phase 1 to 3 buildings in scale and style. For example, phase-6 buildings along the road maintain the 10-m limit, and the buildings of one or two stories are piled up and receding from the facade line.

In terms of style, phases 2 and 3 employed ex pressions compatible with their times while remaining within the general Modernist framework. Phase 6 pursues the optimum nature of Modernism, a topic in which we are currently interested.

In line with basic planning policies used in earlier phases of the project, public spaces and shops, which are naturally varied in nature, are located in the basement and on the first-floor and mezzanine levels, with offices and apartments on the levels above,

A more constructural approach has been adopted to the assembly of the surface layers than was true in phases 1 through 3. For instance, the I 0-m sky line (the same as those of the buildings on the north side of the street} is expressed as sharp eaves, which serve as the axis for the development of all other

compositional elements. In order to avoid the flatness of the southern facade, framed sunrooms are installed in every corners (like those in the fmt phase of the Iwasaki Museum of Art). Perforated aluminum sheeting on the front of the building, admits natural illumination while preserving privacy, (which recollects the membrane at TEPIA). The pervading color image is contrast between white and the light aluminum color of the sheeting. Surfaces protected by the overhang of the pent roofs are painted. Those lacking such protection are faced with white corona-shaped tiles (5m to a side) like the ones employed in the Fujisawa Campus of Keio University and the Tokyo Municipal Gymnasium.

As the foregoing discussion has indicated, phase 6 at Daikanyarna represents a distinctive, individual personality, though it is based on an accumulation of experience with the compositional principles and materials employed in preceding projects. To preserve the sense of scale found in the other Hillside facilities, three independent buildings are connected by means of a plaza. This plaza is directly in line with a private road between the Royal Danish embassy and phase-3 buildings on the opposite side of the road. This location opens a new and vista at right angles to the road along which the remaining Hillside buildings are aligned.

(Fumihiko Maki)

JA 19914 HOUSING 189

192 JA !991-4 HOUSING

Royai Danish Embas!;J.

Second floor.



194 ]A 1991-4 HOUSING

loc.lliOI;; \'1/.ml, Tokvo .:rchitetts: & Associ.H~~ client: As<1kur.1 Real Comp.1:1y structural engineers: Aoki and Associates general Corporoltion site area:

Mea: 2,263n/ ., area; 7)95m~

structme: reinforced concrete numiJer of houses l9, l2 projected chue: March,

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RIKEN YAMAMOTO & Field Shop

Ryokuen-toshi Development Inter-Junction City.

~rnlilillm

i.l.Ptl!~~HI~

Site; scale: 112,000.

Ryokuen-toshi is the name of a private-railway station about 15 minutes from the center of Yokohama. This plan encompasses a commercial and residential district in the vicinity of the station. Much of the area is vacant lots because of intractable conflicts of interest arising from mixed ownership involving both the railway line and local holders. In the past, the local owners have rejected all of numerous development proposals. Without exception, these proposals have imposed restrictions on individual buildings in the name of overall district uniformity. For instance, some suggested setting all buildings 2 meters back from the road. Others insisted on enforcing an all-white color scheme or making cable roofs obligatory. The reaction of local landowners has been, "It's my land, and I don't care about uniformity. If the railway lines want uniformity, they'll have to pay us subsidies:'

Subordinating individual buildings to an overall plan based on a general urban idea leads to fundamental confrontation. Because I realize this, my own proposal puts no restrictions on individual


buildings in the name of uniformity of appearance. My method is the reverse of ordinary city-planning methods. The individual building takes precedence over the city. In other words, the individual building is the city; the ultimate form of the city is inherent in the single building.

Believing this, I have established no strict overall conception. Because the conflicting interests of various local landowners are knotty, I allow each owner to build to suit his own circumstances. That is the nature of my plan.

I have, however, established one simple rule: build any kind of building you like, but each building and site must be connected with the neighboring building and site by means of an access passage. In other words, each building must send out a feeler to its neighbor. The builder of the next building must establish contact with that feeler and then send out a feeler of his own to the adjacent site. In this way, a labyrinth-like pe'destrian deck can generate urban organization.

Each time a building goes up, a passageway is

completed to alter the city. It is, therefore, impossible to say what the ultimate urban form will be like.

Basically, commercial facilities are on the first 2 stories and residences on stories 3, 4, and 5. A passage way through the commercial facilities on the frrst and second stories is open to everyone 24 hours a day. Traversing all the buildings, it connects small .plazas and sometimes becomes a bridge over open space. Restaurants are to be situated along this plaza.

A glass-roofed common space will serve the apartments on the upper 3 stories. In contrast to the open passageway, this space is for residents only. Elevators stop at the common space, to which all apartments have access.

Architectural designs are not uniform. Sites are different. Owner conditions and costs too differ. Naturally each building has an individuality of its own. Nonetheless, I should like materials to be uniform if possible. (Riken Yamamoto)

198 JA !991-4 HOUSING

)A 1991-4 HOUSING 199

(p. (p, (p. f/Jdm<1 (pp. 201, 202, 203) Site

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!oc,Hion: Yoknh,lm,l, I\.,u1,1~,n·:,1 Prefecture ,\rchitcw: RIKEN Yr\iv!A~IOTO & Field Shop client: Sag.uni R.tilw.1y Co., Ltcl. (SITE 2) structural engineers: Jm,Ii Consulting Structurdl Engineer general contractors: Sotetsu Construction Co., Ltd. site area: 1,011n/ , building area: 806m1 , ..

total floor area: 2,670m· structure: reinforced concrete (p.ntly molded concreteblock be,1ring wall) and steel ti·ame; 5 stories and 1 basement floor .uc.1 ratio: 22c!A 0/o building covcr.1gc: 79.80/o number of housing: l6 projected completion d.lle: r\pril, 1992 (SITE 7) structur,II engineers: lm,ti Structur.1l Consulting Engineer gener.1! contractors: Nishinl.ltsu Construction Co., Ltd. and Sotetsu Construction Co., Ltd. site .uea: 844m1

building area: 670m2 ,

tot.tl floor area: 2,5l8m-structure: reinforced concrete (partly molded concreteblock bearing wall) and steel frame; 6 stories floor area ratio: 261.0% building coverage: 79.4% number of housing: 9 projected completion date: November, 1992 (SITE ll) structural engineers: Kozoh Keikaku Plus One gener.tl contractors: Sotetsu Construction Co., Ltd. site area: 3,c!43m2

building area: unfixed total floor area: unftxed structure: reinforced concrete (partly molded concreteblock bearing wall) and steel f'r.une; 4 to 6 floors (unfixed) floor area ratio: unftxed building coverage: untixed number of housing: unftxed projected completion date: October, 1992

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JA !991-4 HOUSING 205

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DETAIL of Shinchi Housing A

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Correction: The "Shinjuku Simulated City" in the Vol. 3 issue of JA (pp. 50-57) was the program presented to the students of the Ito Studio in the Columbia University.

PHOTO COPYRIGHT All Photographs except as noted by Photography

Department of JA (Shinkenchiku·sha)

Chief Photographer Shigeo Ogawa

Copyright ©1991 Shinkenchiku·sha All rights reserved. No part of this publication may be reproduced, in any form or any means: electronic, mechanical, photocopying, or otherwise, without permission in writing from the publisher.

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SUBSCRIBE NOW! New Format

The Japan Arcl1itect

During the thirty-five years that have passed since its founding, in 1956, the Japan Architect has published four hundred regular issues. Now, owing to the striking changes that occurred in international conditions in recent years, we feel the time bas come to revise the nature and format of the journal completely.

Each issue of the new JA features special topics planned and edited in a distinctive fashion Special editions of new JA offer select cov:erage of top~level Japanese architecture and related topics. In especially planned and edited features, each issue concentrates on one of the following categories: monograph focusing on one particular architect; yearbook-style introduction of outstanding works; theme-centered coverage of new trends in architecture and city plannin,;; and detailed examinations of controversial and delibrated projects.

Quarterly format with many more pages To provide the maximum amount of information and comment, the journal appears quarterly (January, April, July and October) with a full two hundred pages in each issue and, of course, many more color pages.

Parallel English-Japanese texts On the crest of the current wave of internationalization, Japan has become a center of information transmission. In keeping with this development, the new JA quarterly offers parallel texts in English and Japanese.

Inaugural Issue 1991 No.1-Tadao Ando Complete coverage of the major works of this important architect, plus introductions of new projects hinting at future developments in his style.

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I

The 3rd YOKOHAMA URBAN DESIGN INTERNATIONAL COMPETITION

~Theme

''Harmonizing the City Center and Port'' -Town planning for the Port of Yokohama's birthplace,

the ZO NO HANA district ("Elephant's Trunk") Sponsored: The City of Yokohama/Yokohama Urban Design Forum Executive Committee

Supported by: Architectural Institute of Jajmn I City Planning Institute of Japan/The Japan Foundation

In Cooperation with: Shinkcnchiku-sha Co., Ltd.

~Purpose Urban space in modern cities is being examined in the face of changes in lifestyle, environmental problems and socio-economic changes. The Yokohama Urban Design International Competition, an annual "idea competition" focusing on urban spaces in Yokohama, provides a forum for presenting urban design proposals and considering how cities should be developed henceforth. In developing an attractive city, it is necessary for many people to participate and for outstanding designs to be utilized. Results of this competition will be announced during the Yokohama Urban Design Forum in March 1992, and winning designs will be used as reference material in future town planning in Yokohama.

Background

The City of Yokohama has developed together with its port, which opened more than 130 years ago in 1859. Today, Yokohama is a thriving metropolis of 3.2 million people which continues to maintain a close relationship between the port and the city. This competition concentrates on the ZO NO HANA ("Elephant's Trunk") district, where construction first began on the Port of Yokohama. The name ZO NO HANA has its origin in the fact that the shape of breakwater looked like an elephant's trunk, Although the present breakwater was constructed at a later date, it is located in the same place, and serves as a historical structure which gives an idea of the port at the time of its opening.

The ZO NO HANA district is located alongside Shinko Pier, which has played a central role in the port functions of Yokohama, and Osanbashi Pier, a passenger ship terminal for ocean-going liners. Both of these districts continue to play an important role in Yokohama's port functions. However, as changes take place in the socio-economic realm and to the port's own circumstances, it has become necessary to develop a new port which accommodates commercial, business, cultural and entertainment functions, To this end, various redevelopment projects

arc scheduled to take place. The ZO NO HANA district is scheduled to be redeveloped together with Shinko Pier as part of the Minato Mirai 21 plan.

In the vicinity of the ZO NO HANA district arc unique, historical city areas such as the area around Yamashita Park, Nippon Odori Avenue district and Kaigan Dori A venue district, which live up to the image of Yokohama. Additionally, the ZO NO HANA district is located alongside Minato Mirai 21, a new developing city center of Yokohama. Being positioned l;etwccn these old and new areas. the ZO NO HANA district occupies an important location for linking the areas together and strengthening the city center.

Historical structures such as the Red Brick Warehouse and the Yokohama Customs House arc also located in this area. enabling urban redevelopment to take place making the most of Yokohama's historical features. Furthermore, the inner port area surrounding the ZO NO HANA district is both humanistic and rich in variety, providing much scope for the development of an appealing waterfront area.

Competition Contents

This competition seeks proposals to harmonize Yokohama's city center and port, focusing on the ZO NO HANA district. Please prepare an urban design plan

The ZO NO HANA district and it's surrounding areas

./

for the redevelopment of the ZO NO HANA district. Additionally, propose a facilities plan for the district.

In your urban design plan, please express the ZO NO HANA district's relation to surrounding areas, and express pedestrian networks, policies for land usc and the overall cityscape.

With regard to the facilities plan, current regulations on land use and floor-area ratios are included in this leat1et for reference, but need not be adhered to. Please propose plans for necessary facilities in the district, and express as clearly as possible their scale, function (s) and design. To this end, please usc as many visual aids as possible including plans, photographs of models and perspective drawings.

JUDGES Chief Judge: Fumihiko Maki (Architect) Judges: Bernard Tschumi (Architect)

Kei Minohara (Urban Planner) Ryoko Ueyama

(Landscape Architect) Shi Yu Chen

(Architectural Producer) Coordinator: Shozo Baba

(Architectural Critic)

AWARDS First Prize (I) ¥2,000,000 Second Prize (2) each ¥500,000 Honorable Mention (10) each ¥100,000 * All awards arc before tax.

J l I !

ENTRY DETAILS

Please follow the guidelines set forth in the application and present your designs for the site from an urban design viewpoint. Contents, expressive methods and scales are left to the contestant's discretion.

MATERIALS Confine total contents to two sheets (600 x 840 rom) of thick drawing paper.

QUESTIONS No questions will be answered. Matters not covered in the specifications listed above are left to the contestant's discretion.

DEADLINE Registration Deadline: Monday, 13 January 1992 (Accepted if postmarked this date)

Design Entry Deadlille: Monday, 27 January 1992 (Domestic entries accepted if postmarked this date; Overseas entries must arrive by this date.

Hand-delivered entries must be submitted to the secretariat by noon on this date.)

REGISTRATION (l) Domestic Applicants Applicants from within Japan must register in advance. Please register by sending a postal card bearing your name, address, telephone number and place of employment (name of school) to the competition secretariat. In return, you will be sent a registration form and reference materials.

(2) Overseas Applicants Overseas applicants need not register. However, if you apply to the competition secretariat with your name, address, telephone and facsimile numbers and place of employment (name of school), reference materials will be sent to you.

HOW TO ENTER Write your name, address, place of employment (name of school) and telephone, facsimile and telex numbers on the back of your submission, and mail it to the competition secretariat by the specified deadline.

• We deeply apalooize for providing incorrect information on the Area of the Site.(JA magazi~, 199H) Please note the corrected information on this page,(Area of the Site • left aoove)

Minato Mirai 21 Region Minato Mirai 21 is an ambitious waterfronl development project in the heart of Yokohama. II is surrounded by the Kannai lsezakicho district, which has developed as a cily center since the opening of the port. and the Yokohama Slation area. which has seen rapid development since the end of World War 11. The aim of Minato Mirai 21 is to intergrate these two districts with international business, cu_lture. and other commercial activities thereby invigorating the tieart of downtown Yokohama, In addition, related port facllrtres.wrll be strengthened, resulting in a new city center that is surrounded by water and greenery. Area-186ha; projected work1ng population-190,000; projected residents population-10,000; Project commencement-1983; Scheduled completion-2,000.

ADDRESS ENTRIES TO

Department of the 3rd Yokohama Urban Design International Competition, Voice or Design Incorporated Horizon-1 Bldg. 3-30-16 Nishi Waseda Shinjuku-ku Tokyo, Japan 169 Phone: 81-3-5273-0149 Fax: 81-3-5273-0374

COMPETITION RESULTS The winners will be notified by mail and the results of the competition will appear in the April1992 issue of "Shinkenchiku" and the 2nd quarterly issue of "JA", to be published on 15 April 1992. Winning designs will be announced and displayed at the Yokohama Urban Design Forum during March 16-19, 1992.

OTHER ~Design entries must be original. ~Design copyright belongs to the desig

ner, but the competition sponsors reserve the right to make announcements of winning entries. ·

~Submissions cannot be returned, so we suggest you make a copy in advance.

~All entries must be written in either Japanese or English.

YOKOHAMA URBAN DESIGN FORUM

Urban Design Office, Urban Planning Bureau The City of Yokohama 1-1 Minato-cho, Naka-ku, Yokohama 231 Japan

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