Since long before Adolf Loos published his seminal Principles of Cladding, architects have pondered the relationship between the surfaces of our environment and the secrets that lie beneath them. With his new installation at the Rokko Meets Art festival in Japan, street artist Jun Kitagawa has playfully un-zipped our curiosity. Through a series of giant, oversized zippers grafted onto the surfaces of everyday life, Kitagawa offers a glimpse into the world that lies only a few inches beyond our perception. Painted on walls, cutting through a house, and traversing a lake, Kitagawa’s giant zippers allow passersby to whimsically interact with their surroundings. [H/T Spoon & Tamago]
Posts tagged with "Japan":
At its 37th session held from June 16 to 27, 2013 in Phnom Pehnh and Siem Reap-Angkor, Cambodia, the UNESCO World Heritage Committee added 19 sites to the World Heritage List. The new additions bring the list to 981 noteworthy destinations. To be included on the World Heritage List, sites must be of exceptional universal significance and satisfy at least one out of ten selection criteria, which are frequently improved by the Committee to reflect the advancement of the World Heritage notion itself. The following cultural sites have been inscribed on the World Heritage List. · Al Zubarah Archaeological Site, Qatar · Ancient City of Tauric Chersonese and its Chora, Ukraine · Bergpark Wilhemshöhe, Germany · Cultural Landscape of Honghe Hani Rice Terraces, China · Fujisan, Japan · Golestan Palace, Iran · Hill Forts of Rajasthan, India · Historic Centre of Agadez, Niger · Historic Monuments and Sites in Kaesong, Korea · Levuka Historical Port Town, Fiji · Medici Villas and Gardens in Tuscany, Italy · Red Bay Basque Whaling Station, Canada · University of Coimbra – Alta and Sofia, Portugal · Wooden Tserkvas of the Carpathian Region, Poland & Ukraine · El Pinacate and Gran Desierto de Altar Biosphere Reserve, Mexico · Mount Etna, Italy · Namib Sand Sea, Namibia · Tajik National Park, Tajikistan · Xinjiang Tianshan, China
Zaha Hadid wins again! Following a star-studded design competition, the Japanese Sports Council has announced Hadid as the winner of the New National Stadium in Japan, beating out Toyo Ito, SANAA, Populous, UN Studio among others and taking home a $250,000 prize. All-star designer of London's 2012 Aquatics Center for the summer Olympics and the first female to ever win the Pritzker Architecture prize, Hadid continues her legacy with this new stadium in Tokyo. Estimated to cost around $1.6 billion, the venue will seat 80,000 visitors and sport a retractable roof. Japanese architect and jury chair, Tadao Andao, commented on Hadid's fluid design as a complement to the crowded Tokyo landscape as well as being environmentally efficient and able to fit the strict completion deadline. "It has dynamism, which is most essential to sport and its streamlined shape fits its internal space. It is also new in terms of structural technology," Ando told the AFP. The stadium's smooth and sinuous white curves fall in line with Hadid's futuristic style and should play a unique addition to the city's terrain. The new structure replaces the existing 54,000-seat national stadium that featured prominently in Japan's 1964 Olympics. The new stadium will have a similar capacity as Beijing's Olympic "Bird's Nest" stadium—91,000 seats—and will feature an all-weather roof. Construction is set to begin in 2015 with a completion scheduled in 2018. Hadid's new stadium design will play host to the Rugby World Cup in 2019 and may even hold the 2020 Summer Olympics should Tokyo be granted its request to host them.
Eleven finalists including Zaha Hadid, Toyo Ito, SANAA, and UN Studio have been announced for a major new stadium project in Japan. Tadao Ando, jury chair for the Japan Sports Council competition, revealed the contending designs for the New National Stadium, narrowing the field from the original 46 entries. First, second, and third place prizes were secretly selected on Wednesday, November 7th, but the winners won't be named until a ceremony is held later this month. While we anxiously await the final announcement, take a look at the proposed stadium designs by each team. Scheduled for completion in 2018, the stadium is already slated to host the 2019 Rugby World Cup and will also be offered as a site for the FIFA World Cup, the IAAF World Championships, and a range of entertainment events. The stadium could even play host to the 2020 Olympics and Paralympics if Japan is chosen as their location.
A sheltering facade wraps a new home for a university’s art collectionThe Mizuta Museum of Art is building a new home for its important collection of Ukiyo-e, or Japanese woodcuts, on the Josai University campus in Sakado, Japan, just north of Tokyo. Scheduled to open on December 9, the museum was designed by New York-based Studio SUMO, who also completed the university’s School of Management in 2006. The Mizuta project began as a retrofit of two floors in an existing building, but seismic, mechanical system, and floor height requirements led SUMO partners Sunil Bald and Yolande Daniels to propose designs for a new two-story museum building on campus. The university provided little in the way of programmatic requirements for the building. Bald said this approach is common in Japan. “It’s more common for the client to say, ‘Please give us a building and we’ll figure out how to use it,’” he said. “Statement buildings are used more and more to attract students, because it’s an aging population.” However, the museum was concerned with protecting its woodcut collection from temperature fluctuations and did not want the gallery’s exterior walls to be hit by the sun. Another concern was how to provide loading and entry access without the use of a freight elevator. The SUMO team solved both problems with two ramps: One leading up to two galleries that will house the permanent collection and visiting exhibitions by local artists and craftspeople, and another that leads down to a campus information center, a natural use for the ground-level space because the museum sits close to the campus entrance. In addition to eliminating the need for a freight elevator, the ramps will help create an environmental buffer for the galleries. They are sheltered, but not entirely enclosed, by a facade of 52 L-shaped precast concrete panels, which clip onto the primary cast-in-place concrete structure. Bald said that the involvement of Japanese construction company Obayashi Global, who has a longstanding relationship with the campus, allowed the team to approach Minato Kenzai, a precast company in the Ibaraki prefecture and convince them to take on the small, experimental project. “For an architect like us, a small firm from another country, to be able to do a project that is materially and tectonically intense might be unusual in any other place or through any other mechanism than the one we are working with in Japan, so we feel very lucky,” he said. Each precast panel is different, but all were cast from a single mold at the rate of one panel every other day for nearly four months, then shipped nearly 100 miles to the campus and installed over the course of three days. Panels are approximately 4 feet wide and less than 10 inches thick; the longest vertical panel measures 28 feet and the longest horizontal pieces are nearly 11 feet. In order to create panels with two surfaces that could be exposed, the fabricator cast them on their sides, an unusual technique that required complicated steel formwork and made it difficult to prevent air bubbles from forming. The design also required 1-foot-wide slots to be blocked out along panel seam lines, creating slits in the facade that allow light and ventilation into the enclosed passageways. The spaces will be lit with overhead LEDs and LED strands set into cast channels between panels. Slabs are coated with a pigmented stain, to conceal the mottling characteristic of precast concrete.
Having worked there on and off for the last 25 years Neil Denari is huge in Japan. His latest achievement in the country was just unveiled yesterday: the complete design for Japan's first ever low-cost regional airline, called Peach. The airline, which will be based in Osaka, will fly within about an hour of that airport to locations in Japan, China, Korea and elsewhere in Asia. Its first flights will be next spring. The Peach, Denari explained, is a positive symbol in several Asian cultures, representing, among other things, longevity and fertility. Denari won the competition for the project back in January and his firm, Neil M Denari Architects, worked on the design from then until April. The airline’s planes, outfitted in various shades of purple along with an abstracted peach emblem, are meant to cater to a young demographic in its 20s and 30s, said Denari. Inside the planes will have purple and grey seats, purple strips on overhead bins, grey rugs with purple specks and purple partitions. The “Peach” lettering will have a stencil effect reminiscent of the writing on a fruit box. “It’s pretty vivid. It wouldn’t have worked if they would have tried to do something conservative to make it so broad that there was no style,” said Denari, vaguely referring to certain low cost airlines in the U.S. “And it needed to be cool and cute, but not Hello Kitty cute.” And why purple if the name of the airline is Peach? “There’s nothing enigmatic or curious about that,” said Denari, of a more literal peach palette. “They got that.” Over his years in Japan Denari has taught, designed an exhibition, done brand consulting, and designed several banks for Mitsubishi United Financial Group. There’s a chance he may also design the lounge for the airline at Konsai Airport in Osaka. “It’s a culture of strong visual impressions,” said Denari of Japan. “The expectations for how design and media work to transform experience are very sophisticated.” See the video of the airline's unveiling here.
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Steel takes on a paper-like appearance at Aomori’s new cultural center, creating a dynamic backdrop for life on the Japanese city’s waterfront.Nearly a decade ago, Vancouver-based design and production studio Molo Design won an international competition for its design of a housing and community project in Aomori, Japan. As firm founders Stephanie Forsythe and Todd MacAllen worked with the City of Aomori in the years following the competition, the design evolved into that of a cultural center celebrating the city’s yearly Nebuta festival, during which huge mythical creatures made of wood, wire, paper, and lights are paraded through the streets. Though millions attend the festival every August, the cultural center would provide an opportunity for more visitors to witness their creation throughout the year. Inspired by the ever-changing shadows in the beech tree forests of Northern Japan, in addition to 19th-century artist Ando Hiroshige’s woodblock prints and the Japanese convention of using screens to blur boundaries between indoors and out, the team began to create abstract lines, which then became paper ribbons. Molo’s product line product line of collapsible, modular walls, furniture, and lighting elements are made of kraft paper, and they began to manipulate that material into models of the screen as a way to learn how they might create the same shapes with steel. The team established a set of rules for the ribbon’s forms, defining how they would twist and provide directional light and views, then created construction drawings by photographing their final model; none of the design was digitally produced. The steel was machined in a local shop and powder coated a deep red color that was inspired by locally-made lacquered dishes. Once they arrived on site, the 40-foot pieces were attached to a sub-frame at four points and manually adjusted to achieve a look of randomness. Their positioning allows the screen to be transparent at some angles and opaque at others, lending to the sense that it is moving. The Nebuta house was undamaged by Japan’s March 11 earthquake and was able to serve as a temporary shelter for residents from other damaged areas of the Aomori Prefecture. To help recovery efforts, Molo created a special limited edition of its hobo luminaria, an LED-lit shoulder tote, hand-painted with the Japanese sun disk. All proceeds will benefit Architecture for Humanity.
Coop Moderne. Urban agriculture is all the rage lately, and with the backyard gardens come the chickens. Jetson Green offers a few examples of high-design chicken coops made of reclaimed materials by Studio H, a design-build program for high-school students in North Carolina. Aid. Architecture for Humanity is working on plans to provide relief to victims of the Sendai earthquake and tsunami. The post-disaster reconstruction group is asking for donations now to they can build later. If you would like to support Japan more immediately, the Japanese Red Cross Society is also a good choice. Al Fresco Forward. As the weather begins to warm, the New York DOT has announced that it's pop-up cafe program is moving forward. Modeled after pop-up sidewalk cafes in San Francisco and other cities, New York tried out its first model in the Financial District last year. The planter-lined sidewalk extensions project six feet into the street and are paid for by sponsoring businesses. The Post has the list of DOT-approved restaurants in Soho, the Village, and elsewhere. Rooftop Remix. Web Urbanist put together a collection modern rooftop additions from around the world by the likes of MVRDV, Coop Himmelb(l)au, and others. As Web Urbanist points out, the juxtapositions of the additions against their host structures is quite striking. (Via Planetizen.)
If you happen to be a fan of Kurt Anderson's wonderful radio show Studio 360, perhaps you tuned in this weekend for the trip to Japan, a fascinating account of a place that seems at once otherworldly and yet so much like our own. If not, dare we suggest you tune in for the whole hour. Or, at the very least, consider the wonderful segment on Japanese design. In it, Anderson interviews architectural master Shigeru Ban and the up-and-coming couple behind Atelier Bow-Wow, as well as a fashion designer and a poet. At issue is that undeniable "Japanese-ness" that undergirds their work and that of their country, how it is shaped by their tiny, overcrowded island and, more recently and perhaps importantly, the economic collapse of the 1990s.