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Continuing their influential body of work examining the city from fresh angles and novel frameworks, Atelier Bow-Wow’s Momoyo Kaijima and Yoshiharu Tsukamoto will cocurate Made In Tokyo: Architecture and Living 1964–2020 at New York’s Japan Society. The show, scheduled to open in October, will examine Tokyo in the period between the 1964 and the 2020 Olympics, both of which were hosted in the Japanese capital and marked shifts caused by enormous infrastructural investment. Made In Tokyo, a close examination of the flows of everyday life and urban institutions, will feature models, drawings, and photographs of a collection of architecture and art that developed around the city in this period of extraordinary change. AN executive editor Matt Shaw exchanged emails with the iconic duo as they prepare the exciting exhibition.
The Architect’s Newspaper: What can we expect from this show? How does it relate to your book projects, particularly Made in Tokyo, which shares a name with the exhibition?
Atelier Bow-Wow: What you can see from this exhibition is the Tokyo of the two Olympics, seen through the evolution of various urban institutions. Our book, Made in Tokyo (2001), showed the life of this unique city through the observation of “hybrid” metropolitan structures. By applying this lens to the urban institutions that were being created in 1964 and 2020, the years of the two Tokyo Olympics, we will showcase the change, or metabolism, of the life of Tokyo.
How did you sort through almost 60 years of architecture and development of the largest metropolis in the world? What were you looking for as you made your framework?
The urban architecture that was built between the last Tokyo Olympics and the upcoming Tokyo Olympics can be categorized in two ways: architecture that supports the everyday life of Tokyo (transit stations, city halls, offices, houses, etc.) and architecture that supports the nonroutine life (capsule hotels, stadiums, department stores, etc.). Comparing these two kinds of architecture and observing how the environments, conditions, and social expectations for each type has changed will reveal how life in Tokyo has transformed.
What are the major transitions you identify? What built works illustrate them?
Size. The size of the Olympics, the size of cities, the size of economic impact, the technical environment—namely, the internet—how families should live, the way of working, commercial services, demographics of cities, etc., have all changed drastically.
Were there surprises that you came across as you surveyed the city and its history? What assumptions about Tokyo might be upended?
We are the generation of the previous Tokyo Olympics and cannot hide how surprised we are at the tremendous turnover of city spaces from what we remember in our childhood memories. Since the government handed over the reins of urban creation to the private sector, the logic of capital and industry has entered into every corner of the city and started determining the shapes of life and urban spaces. Although it is widely said that the 70-year period of peace in Tokyo—without war or huge earthquakes—has contributed to cultivating a city that values quality over quantity, I think in reality it is livelihood that is servicing capital and industry.
From the outside, 1964–2020 in Japan seems to be a very positive and optimistic period of growth. Is that true?
Since World War II, we had grown in both population and economically until around 1990. Various urban institutions were created with great productivity and enthusiasm. Especially in the 1960s—15 years after the end of the war—young architects were allowed to creatively contribute to diverse architectural designs. Now, in contrast to those times, the institutions that were built in the 20th century are showing their age and need to be renovated. In high-value areas in central Tokyo, there is an incentive for large capital and organizations to move toward mass redevelopment that increases the total floor space, thus covering operating costs. On the other hand, buildings in the other areas are left to the tides of time and tend to be unoccupied and deteriorating. These buildings are often revitalized by young architects and activities rooted in their neighborhoods. In short, bipolarization is happening, and we cannot be positive about the situation.
Now we are moving to the idea of “revival” and localism of the countryside rather than Tokyo’s centralism. Tokyo has been established on the support of the rural areas, but the fact has become more apparent and Tokyo is getting situated as one of the cities in the network of lives.
You include several avant-garde artworks, including some performance pieces, that are critical of Japanese economic development and consumerism. How do those fit into your narrative? Why did you include them?
They show what “ambiences” are surrounding architecture in each era. Along with focusing on urban institutions, we would also like visitors to imagine the backgrounds and conditions that surround the institutions.
(These responses were translated from Japanese into English.)
Although the Office of Metropolitan Architecture (OMA) has been in business for decades and keeps a steadily growing constellation of offices around the globe, the firm has, until recently, had a relatively modest profile on the American West Coast.
But things are changing. As West Coast cities pursue new building efforts—including new neighborhoods, ecologically sensitive public parks, and experiments in multiuse complexes—OMA’s brand of frank intellectualism has slowly found a preliminary foothold in California.
The firm’s expanding Golden State presence includes a recently completed urban master plan for Facebook’s Willowbrook campus in Menlo Park, a residential condominium tower in San Francisco, as well as a trio of inventive projects in Los Angeles. Over the next few years, these projects are poised to join the Seattle Central Library and the Prada Epicenter Los Angeles, both from 2004, OMA’s only completed West Coast projects to date.
The latest westward push represents an ascendant energy emanating from the firm’s New York office, where OMA partners Jason Long and Shohei Shigematsu lead many dynamic projects taking shape across the continent and in Japan. When asked if a new California outpost was in the works for OMA, Shigematsu replied, “It’s always been a dream of ours,” before adding that current conditions were favorable but not exactly right for a potential OMA West branch. “Maybe if we get more projects out here.”
First and Broadway Park (FAB Park)
Also created in collaboration with Studio-MLA, the new First and Broadway Park in Los Angeles is set to contain a playful 100,000-square-foot retail, food, and cultural programming pavilion that anchors the ecologically sensitive park. The pavilion will be capped with an edible rooftop garden and a dining terrace that overlooks L.A.’s City Hall.
Along the ground, the park will be wrapped with ribbons of bench seating, elements fashioned to create interlocking outdoor rooms and plazas surrounded by native oak and sycamore trees. Water-absorbing landscapes around the seating areas are designed to harvest and retain rainwater while solar collection and a “Golden California” landscape lend the project its ecological bona fides.
The Avery (Transbay Block 8)
Related California’s crenelated 575-foot tower, known as The Avery, is part of a larger development created in conjunction with Fougeron Architecture for a blank site in downtown San Francisco’s bustling Transbay District.
For the project, the designers have carved a generous paseo through the buildable envelope for the site, creating a new retail and amenity plaza while also lending a tapered look to the 55-story tower. The gesture animates views for a collection of condominiums, market-rate apartments, and affordable housing units while also bringing sunlight down into the paseo and to the mid-rise block designed by Fougeron. Currently under construction, the tower is expected to open in 2019.
Audrey Irmas Pavilion
The Audrey Irmas Pavilion is the firm’s first cultural and religious project in the region. The trapezoidal building shares a site with the Wilshire Boulevard Temple and is made up of three interlocking volumes that connect to the outdoors via a sunken rooftop garden designed by landscape architecture firm Studio-MLA. An arched portal connects to a shared breezeway between the pavilion and the temple, which is framed by the leaning pavilion. The latter was designed with a pronounced slant both out of deference to historical structure and to illuminate the courtyard.
Referencing unbuilt proposals for Universal City and the L.A. County Museum of Art, Rem Koolhaas, OMA cofounder, said, “[The Pavilion] is part of a very consistent effort to do things here. It’s exciting if one thing happens to succeed, because architecture is a very complex profession where maybe a quarter of all attempts get anywhere.”
The Plaza at Santa Monica
Shigematsu explains that one concern driving the firm’s California projects involves delving into the region’s rich history of indoor-outdoor living. The approach is fully on display in The Plaza at Santa Monica, a 500,000-square-foot staggered mass of interlocking buildings intended to create a new mix of public outdoor spaces.
With a cultural venue embedded in the heart of the complex and ancillary indoor and outdoor public spaces laid out across building terraces, the complex aims for a unique take on the regional indoor-outdoor typology. The building is set to contain offices, a 225-suite hotel, as well as a market hall and public ice-skating rink.
Welcome to the Big D
Facades+ Dallas will dive into the trends reshaping Texas's largest metro area
From a conceptual standpoint, our work on a vertical campus in Downtown Dallas took cues from many lessons we have learned abroad, from site response to contextual integration, and paired these attributes with an evolving corporate business model. Ultimately, the concept was shaped around an affordable housing project just to the east of the site, maintaining a view corridor through the gesture of a loop that ultimately became a symbol for the company’s programmatic model. It is one in a line of projects coming up in Texas that we are excited about.
From a facade standpoint, our hospitality group is working on a Grand Hyatt Hotel in Kuwait that is currently under construction. The facade concept of self-shading finds a balance between the harsh climate of the region and the demand for expansive views. The pitch results in the natural placement of photovoltaics with the underside of the bay providing a highly transparent opening with minimal direct solar heat gain. The same team recently completed the core and shell of the Maike Business Center and Grand Hyatt in Xi’an. Here, two towers were linked by a belt truss to limit lateral loads while serving as a critical program link between the hotel and office towers. The facade was a simple extruded, serrated form linked in the middle by a vertical screen that emphasizes the composition.
I am working currently on the design of two China-based projects with quite a range of scale between them. OCT Chengdu is on the larger side with a dominant facade facing a key convergence of traffic in the city. The facade plays into that movement with a series of fins that peel upward to reveal the activity of the mall behind, thus activating what is traditionally a hard face. We have been working further to optimize this system. This project is currently under construction and should be complete in a few years. On the other side of scale, we recently began work on an Audubon Center in Zhengzhou. The concept is about tying program and landscape together underneath an observation ring. We have been working with Thornton Tomasetti on realizing the ring as a completely unsupported element over the waterfront with full height curved glazing that reveals the public behind, as if the visitor were a part of the facade experience. The Zhengzhou project will start in construction in a few months and be complete by the middle of next year.
AN: What unique opportunities and challenges are present for architects and designers in Dallas?
MF: Mark Lamster summed it up well in a Dallas Morning News article from April of 2016, "Dallas Architecture is a joke (but it doesn't have to be)."
In my opinion, the potential in Dallas is to be proactive rather than reactive toward challenging and evolving typologies but with that comes a certain degree of investment and risk. We can take lessons from two organizations that I believe have had the most impact upon the city in BC Workshop and Better Block. Both groups have been recognized for their innovative approaches to typologies and community engagement. The Cottages at Hickory Crossing is a noted example on the city’s south side.
An engagement of our value as architects and designers to all parties involved in a project, from developer to community, is key, but change will also depend upon us stepping out and trying something without permission. As Dallas further evolves, there is no better place to test and experiment, but we have yet to really commit to that, beyond few examples. In all, it is really getting back to our fundamentals of why we practice this profession and to search for its meaning once again.
AN: Which ongoing Dallas developments do you perceive to be the most exciting in terms of facade innovation and overall impact on the city?MF: There have been some noted transformations in Downtown Dallas, from work by Architexas on the Joule Hotel, to Merriman Anderson’s work on the Statler Hilton, all the way to more recent conversions of 400 Record by Gensler. Each of these, among others, have defined in many respects the process of historical rehabilitation in Texas, but also have transformed the program in all cases. Almost overnight, there is a developed rhythm toward respecting the past and redefining the urban realm. The Statler and 1401 Elm represent the largest and most challenging cases of preservation in the city. Statler was many years in the making. Historical innovations during the 1950s proved quite challenging in the rehab of the building. The results of maintaining such a celebrated form and period in the rehab are nothing short of a feat. 1401 Elm is currently undergoing its makeover, with the marble currently off-site for rehab. It has stalled a few times during recent years but hopefully, it will become a major contributor once again.
Both projects are a glimpse into a city that is continually working to value its history more and more by the day. With our first panel, we hope to shed further light on this discussion.Further information regarding Facades+ Dallas may be found here.