reisgids Japan 2019

japan 2019

retour VERS l’orient

hotel Osaka

Drop Inn Osaka 6 Chrome-12-13 Fukushima Fukushima Ward, Osaka tel. +81 70 6925 3607 http://www.dropinn-osaka.com/

studiereis Japan 2019

(bagage blijft hier bij overnachting in Okayama)

studiereis Japan 2019

kaart hotel Osaka

studiereis Japan 2019

hotel : buurt

hotel Okoyama

studiereis Japan 2019

A. logies(17 studentes + isabelle) Hibari House 2 Chome-7 Omotecho, Kita-ku, Okayama Tel: +86-230-2833 http://hibari-t.com/f2/

studiereis Japan 2019

kaart hotel A-logies Okoyama

hotel Okoyama

studiereis Japan 2019

B. logies (20 studenten + geert/david/ghislain) Kamp Houkan-Cho Backpacker's Inn 3 Chome1-35 Hokancho, Kita-ku, Okayama http://kamp.jp/?lang=en

studiereis Japan 2019

kaart hotel B-logies Okoyama

studiereis Japan 2019

hotel : buurt

verdeling groep EILANDEN

1

Hanne Hermans

2

Paulien Brasseur

3

Lotte Fransen

4

Amaris Candido

5

Emilie Verbiest

6

Isabel Verhaeghe

7

Femke Cammans

8

Ine Verniers

9

Marijke Houvenaghel

10

Sofie Ameye

11

Kerstin Bex

12

Maarte Bosmans

13

Robine Verhaeghe

14

Soetkin Segaert

15

Nore T'Syen

16

Sarah ten Berge

17

Bieke Van Broekhoven

18

Lotte Van Vinckenroye

studiereis Japan 2019

groep A Geert/Isabelle : 20 personen (Teshima/Inujima – Naoshima)

1

Jeroen Braekeleire

2

Kwinten Claes

3

Daan Deferm

4

Matthis Nelissen

5

Ruben Mertens

6

Marcy Praet

7

Laurine De Rop

8

ZoĂŤ Saleh

9

Stien Dictus

10

Julie Leysen

11

Ilya De Noyette

12

Senne Heylen

13

Tuur Lenaerts

14

Bram Neirinck

15

Stef Van Leugenhaege

16

Tanguy Vanden Berghen

17

Lode Vanderbeek

18

Elise Desair

19

Anina Haesen

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groep B Ghislain/David : 21 personen (Naoshima – Teshima/Inujima)

vluchten (9-17 april) AMSTERDAM SCHIPHOL NATIONAAL – KANSAI INTERNATIONAL AIRPORT (OSAKA) / 9 april KLM vertrek aankomst vlucht check in luchthaven

14h45 8h35(lokale tijd) 11h 12h45

KANSAI INTERNATIONAL AIRPORT (OSAKA) – AMSTERDAM SCHIPHOL / 17 april TAP 10h25 (lokale tijd) 15h00 11h40 8h25

studiereis Japan 2019

vertrek aankomst vlucht check in

praktisch ? voorzien op regen (paraplu) ? handbagage 1 stuk max. 8 kg (55x40x23 cm)

+ 1 extra artikel : 1 handtas of 1 schoudertas of 1 laptoptas (40x35x12 cm) ? (samen max. 12kg) ? max. 1 koffer (max. 23 kg)/ max. 158 cm (b+h+d) ? internationaal paspoort !!! ?

PASMO kaart (ontvang je in Japan) ?

Japan Rail Pass ? munteenheid : yen ? tijdszone Tokyo(+ 7 uur tov BelgiĂŤ) ? voorzie aangepast schoeisel om te wandelen !!

inbegrepen ? vlucht Amsterdam - Osaka ? transport ter plaatse (inclusief Japan Rail Pass) ? hotel (Osaka + Okayama) ? draadloos internet (1 wifi-portal per 4 personen) ? rondleidingen ? toegangsgelden ?

zelf nog te voorzien

? maaltijden (ontbijt-lunch-diner) ? toegangen musea Teshima-Naoshima-Inujima (behalve

studiereis Japan 2019

Chi Chu Art Museum. Opgenomen in eindafrekening)

programma 9-10-11-12-13-14-15-15-17 april 2018

dag 1

Schiphol / 9 april

14h40

vlucht Schiphol Amsterdam – Osaka

dag 2

Osaka/ 10 april

8h35

aankomst Kansai Airport bagage + douaneformulieren railpass inruilen Wifi oppikken Kansai Airport (Renzo Piano)

11h30

afspraak alle reisgroepen / The Drop Inn opbergen bagage in lockers + lunch

12h34

Osaka Station – Yaenosato Shiba Ryotaro Memorial Museum (Tadao Ando)

14h31

Yaenosato – Kentetsu-Nara Todai-ji tempel (grootste houten constructie ter wereld) Kasuga-taisha tempel interieur Yakushiji Temple Jikido (Toyo Ito)

17h08

Nara - Tenri CoFuFun Plaza (studio Nendo)

18h00

Nara – Osaka JR

20h00

checkin hotels + vrij

(wie wil kan nog aansluiten richting Osaka centrum voor een stukje Japans 'Las Vegas')

studiereis Japan 2019

de dagen in Japan zijn goed gevuld tussen 8h30 en 18h00. ‚s avonds ben je steeds vrij en heb je de gelegenheid om de atmosfeer van de verschillende wijken ‚s avonds gaan op te snuiven.

dag 3

Kanazawa/ 11 april

8h40

Osaka-Kanazawa (spoor 11)

20h47

Kanazawa-Osaka (spoor 2)

dag 4

Rokko-Kobe/ 12 april

9h15

Osaka – Rokkomichi (spoor 5) JR

10h00

Rokko House (Yo Shimada / TATO architects) rondleiding door Yo Shimada

11h15

Rokko Housing I + II + III (Tadao Ando)

12h30

Rokkomichi – Maiko JR

13h00

Highway Bus Kosoku Maiko – Yumebutai Awaji gardens (Tadao Ando) Water Tempel (Tadao Ando)

17h36

Highway Bus Yumebutai – Kosoku Maiko

18h03

Maiko – Osaka JR

studiereis Japan 2019

Museum of the 21st Century (SANAA) Kenroku-en park Omochi markt picknick park + kasteel Kanazawa samoeraiwijk avondlunch in Kanazawa

dag 5

Techima + Inujima/ 13 april

5h46

Osaka – Shin-Osaka (spoor 7)

6h03

shinkansen Shin-Osaka – Okayama (spoor 20)

7h10

trein Okayama – Chayamachi (spoor 8)

7h28

Chayamachi – Uno Port

8h40

boot Uno Port – Ieura (Teshima)

9h50

boot Miyamoura – Inujima – Art houses (Kazuyo Sejima)

13h00

boot Inujima – Ieura (Teshima) Teshima Art Museum (Ruye Nishizawa) Les Archives du Coeur (Boltanski)

16h25

boot Ieura + trein of bus naar Okayama hotel Okayama

dag 6

Naoshima/ 14 april

7h40

trein + boot Okayama – Miyanoura (Naoshima) huur fietsen 20 personen Bennesse Art Museum (Tadao Ando) Ferry Terminal (Kazuyo Sejima) Paviljoen (Sou Fujimoto) Lee Ufan Museum (Tadao Ando) Chichu Art Museum (Tadao Ando) 3 groepen om 12h30/12h45/13h00 Port Pavillon (SANAA) Naoshima Hall (Hiroshi Sambuichi)

16h35

boot Miyanoura – shinkansen Shin-Osaka

studiereis Japan 2019

groep A Isabelle & Geert

groep B Ghislain & David dag 5

Naoshima/ 13 april

7h02

Osaka – Shin-Osaka (spoor 7)

7h15

shinkansen Shin-Osaka – Okayama (spoor 20)

8h24

Okayama- Chayamachi (spoor 8)

8h41

Chayamachi – Uno Port

10h00

boot Uno Port – Miyanoura (Naoshima)

17h35

boot Miyanoura – Uno Port mogelijkheid Onsen Uno Port trein of bus Uno Port – Okayama hotel Okayama

dag 6

Techima + Inujima/ 14 april

7h10

trein Okayama - Uno Port

8h40

boot Uno Port – Inujima Art houses (Kazuyo Sejima)

13h00

boot Inujima – Ieura (Teshima) Teshima Art Museum (Ruye Nishizawa) Les Archives du Coeur (Boltanski)

16h25

boot Ieura – Okayama

18h32

shinkansen Okayama – Shin-Osaka

studiereis Japan 2019

huur fietsen 21 personen Bennesse Art Museum (Tadao Ando) Ferry Terminal (Kazuyo Sejima) Paviljoen (Sou Fujimoto) Lee Ufan Museum (Tadao Ando) Chichu Art Museum (Tadao Ando) 3 groepen om 12h30/12h45/13h00 Port Pavillon (SANAA) Naoshima Hall (Hiroshi Sambuichi)

dag 7

KYOTO/ 15 april

8h40

Osaka – Kyoto (spoor 11) JR

22h29

Kyoto – Osaka (spoor 5) JR of een uurtje later

dag 8

Nara - Okayama/ 16 april

9h30

rondleiding Maruzen-Junkudo Bookstore + Chapel in the Sky (Tadao Ando) bezoek atelier Tadao Ando

10h20 12h53

Osaka - Okayama (spoor 20) J Fukutake Terrace Pavillon (SANAA) Luifel Fukutake (SANAA) Fukutake Hall (Ruye Nishizawa) tuin Koraku-en + kasteel Okayama

20h32

Okayama – Shin-Osaka (spoor 23)

dag 9

Kansai Airport/ 17 april

7h30

Fukushima – Kansai Airport

10h25

vlucht Osaka – Amsterdam

15h00

aankomst luchthaven Schiphol

studiereis Japan 2019

Times I + II (Tadao Ando) Design House (Tadao Ando) Kyoto Station (Hiroshi Hara) Nationaal Museum (Yoshio Taniguchi) mushroom pavillon (Studio NENDO + Ruye Nishizawa) Daisen-in (historische zentuin) Kinkaku-ji (gouden tempel tuin) filosofenpad Kiyomizu-dera (tempel) Nijo kasteel Keizerlijk Paleis Katsura Keizerlijke villa Nishinoyama House (Kazuyo Sejima) Bamboo grove avondmaal in Kyoto

S A K

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O A

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K A N A Z A W A

BOARDING

Ticket office ferry services Boarding pier ferry Ticket office passenger boat Passenger boat boarding pier

1 2

3

4

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1/ 2/ 3/ 4/

BOTEN

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E N

BOOT

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SCHEMA 2

BOOT

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SCHEMA 4

I L A N D E

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E N

E S H I M

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T A

E S H I M

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T A

N U J I M

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I A

N U J I M

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I A

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N A O S H I M A

studiereis Japan 2019

N A O S H I M A

Y O T

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K O

A R

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N A

K A Y A M

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O A

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G I O N - W I J K

21ST CENTURY MUSEUM OF CONTEMPORARY ART Kanazawa

studiereis Japan 2019

SANAA

SANAA

21ST CENTURY MUSEUM OF CONTEMPORARY ART, KANAZAWA, ISHIKAWA PREFECTURE, JAPAN KAZUYO SEJIMA + RYUE NISHIZAWA/SANAA ‘Tactical translucency’ is a distinct characteristic of the work of SANAA’s Kazuyo Sejima + Ryue Nishizawa. In the 21st Century Museum of Contemporary Art, it was applied as a strategy in which to blur the boundaries between the city and the interior space of the art museum, creating a type that fuses areas for public activities and the more contemplative gallery spaces.

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Kazuyo Sejima + Ryue Nishizawa/ SANAA, 21st Century Museum of Contemporary Art, Kanazawa, Ishikawa Prefecture, Japan, 2004 Ground-floor plan.

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The intertwined public and museum zones are designed to provoke interaction between potential user groups, with the public spaces encircling the museum.

96

Bird’s-eye view of the museum.

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The scattered bulk of the galleries also creates transparency and a feeling of openness marked by long vistas through the entire depth of the building.

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opposite: Interior view of the gallery.

below left: View from the foyer to the courtyard.

below right: View from the circulation space to the outer courtyard.

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below left: Site location plan.

below right: View from the foyer to the city.

opposite: External view of the foyer and gallery.

SANAA’s work is characterised by a persistent preoccupation with the rethinking of boundaries, their removal, blurring, and clarification. Their concern with transparency has created both a subtle phenomenal translucency and a highly effective process of diagrammatic reduction.1 As a result of the optical and programmatic translucency anticipated in a project such as the firm’s Moriyama House (2005), the museum in Kanazawa succeeds in radically rethinking the relationship between interior and exterior volumes and spaces, between the room, the building and the city. The subsequent typological challenge of the museum, the transformation of the traditionally highly representative physical nature and programmatic interiority into an extended yet delicate fragment of the city, the dematerialisation of the museum

itself, can be understood as conditioned by tactical translucency and motivated by the convergence of opposites such as inside and outside, private and public, individual and collective, or programmatic and formal.

The 21st Century Museum of Contemporary Art sits in the city centre and, in addition to museum spaces, includes community gathering spaces such as a library, lecture hall and children’s workshop.

The intertwined public and museum zones are designed to provoke interaction between potential user groups, with the public spaces encircling the museum.

The site links together the diverse but equally important municipal functions surrounding it. Circular in form, the building has no front or back, allowing exploration from all sides. The exhibition area is fragmented into numerous galleries, all of

Despite its size, the building feels bright, open and free. This is consistent with SANAA’s typological intent to open the museum (architecture) up to its surroundings, to the city, its activities and people.

100

which are embedded in a field of circulation space. This approach provides individual gallery spaces with different characteristics while creating flexible museum circulation that allows for a variety of expanded or contracted areas. The scattered bulk of the galleries also creates transparency and a feeling of openness marked by long vistas through the entire depth of the building.

A walk just inside the curved glass of the exterior facade smoothly unfolds a 360-degree panorama of the site.

Gallery spaces have various proportions and provide diverse lighting options; from bright daylight through glass ceilings to spaces lacking any natural light. The heights range from 4 to 12 metres (13.1 to 39.4 feet). The materiality and sequence of the circulation space is geared towards use as additional exhibition areas. Four fully glazed

internal courtyards, each unique in character, provide ample daylight at the centre of the building and a fluent border between the public zone and the museum zone. Despite its size, the building feels bright, open and free. This is consistent with SANAA’s typological intent to open the museum (architecture) up to its surroundings, to the city, its activities and people. Typological consistency, however, is reinstated – if displaced – by considering the project not as a building, but as a piece of simulated and extended fabric of the city: a translucent and edgeless mat-building typology. 1 Note 1. Toyo Ito coined the term ‘diagram architecture’ for Sejima’s work in ‘Diagram Architecture’, El Croquis, 77.1, 1996, pp 18–24.

Text © 2011 John Wiley & Sons Ltd. Images © Kazuyo Sejima + Ryue Nishizawa/SANAA

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ATELIER BISQUE DOLL HOUSE Minoh

studiereis Japan 2019

UID ARCHITECTS

Atelier Bisque Doll House Minoh, 2009 UID Architects If you walk down a particular street in Minoh City, Osaka at night, you will be forgiven for thinking that you have seen an apparition. In the midst of all the low-rise residences, a house seems to be floating and aglow with light. This is the atelier-cum-residence of a bisque doll artist. In a city where land prices are exorbitant, and privacy highly priced, a dream home is hard to come by. Fortunately for this doll artist, her expectations for a welcoming atelier-cumresidence were not only met, but surpassed. The result is the stunning architecture. It is a creation by the principal architect of UID Architects and Associates, Keisuke Maeda.

The site must serve as an atelier-cum-gallery, and also as the residence of the doll artist.The atelier must be welcoming, yet privacy is needed for the residential part of the house. Furthermore, the owner frequently hosts gatherings for her friends and needs space for entertaining.The challenge was left to the principal architect of UID Architects,KeisukeMaeda.Explaining his design philosophy for Atelier Bisque Doll, Keisuke Maeda wanted “to achieve a form without territory”. For this purpose, he brings the exterior greenery from the neighbourhood in and also lets the interior out.By using the neighbours’greenery as the ‘walls’, he has blurred the traditional in/out demarcation.Then, as he “do(es) not want to create something like walls, hanging walls or fences”, he created waist-high walls that are freed from gravity, or floating belts to surround the entire site. The end result is an ethereal floating belt surrounding the Atelier-Bisque Doll giving the whole structure an effortless lightness.

The beginnings of Atelier Bisque Doll can be thought of as a cuboid made of steel, glass and mortar.KeisukeMaeda applied three samurai strokes to it, and then let it fan out into four slices, displayed like the nifty gadgets in a Swiss Victorinox knife.The cantilever layers suspend gracefully above ground. Interlacing the layers gave them the needed anchor as well as separating the functions of each area.He employed the difference of 1.2 metres in height of the site, and put the atelier on the lower part facing the north-facing front street and the residential piece on the upper south side. Then, by setting aside a common utilitarian area between the atelier and the house, he has united the two functions. The site boundaries are blurred, allowing the owner to use the space as required. To further this idea of continuity, the atelier and the residence are linked on the outside by a path, allowing a feel of flow and completeness.Thus, the two areas in no way feel distant or distinct from each other whether you are inside or outside the building.The finishing touch is the glass clad exterior which makes it difficult to tell where the interior ends and where the exterior begins, fulfilling Keisuke Maeda’s intention.

An approach was built as a slope as if you were walking on the slanted topography. It must be quite an out-of-the-world experience for visitors who encounter the waist-high wall from the front street and walk through the gate to encounter a sensuous path beckoning them towards the atelier. Its open layout seen through the glass panels starting above the first belt allows you to be immediately drawn into the action inside as soon as you cross the threshold.

Not only that,Mother Nature in all her finery is on full display for those inside the atelier.To fulfil the brief of providing a gallery as well as work space, the atelier is more than adequately fitted with storage solutions befitting the needs of an artist. In addition to shelves to display dolls, there are cubbyholes running along the perimeter of the room. The straight lines used in various permutations for the storage designs also further the drama of using lines in the design of the whole place.KeisukeMaeda has situated a table right in the middle of the room, allowing for demonstrations and lessons with easy access to the materials.The wave of the chairs is the one welcome break from lines seen in this very functional room. The path continues its meanders around the atelier and between the atelier and the residence. It is here where one can appreciate how the height difference and the floating belts give the necessary privacy to the various rooms without the need to erect privacy screens. Patrons in the atelier will not be able to look directly into the elevated residence even though they are just separated by this S-shaped path due to the placement of the floating belt.

The residential part of the building is comfortably spacious with lounging areas and bedrooms.The bedrooms can accommodate full height glass panels along the perimeter as they are situated where the highest belt is. With the privacy provided by the belt, the bedrooms can have all-encompassing

views without obstruction from solid walls. The kitchen is flooded with light through the glass ceiling which affords a glimpse of the sky.The surroundings have been brought in subtly.The whole place is unapologetically rectilinear. Instead of appearing severe, it appears fresh, aided in part by the sparse,white interiors which form a blank canvas for the sky and the foliage.With the seasons change, the colours on the canvas alter.The interplay of shadows and light is the new abstract art.The insideoutside definition is once again brought into question. A simple operation of overlapping belts has managed to integrate the site with the neighbouring structures and the larger natural and public setting. Here, architect Keisuke Maeda has definitely realized a “space that has a new link to the city by rethinking the notion of walls and fences that obstruct boundaries” and treating architecture, structure and landscape each on an equal footing. Not only does the 151.76-square metre built area fulfil the owners’ expectations, it presents a unitary, environmentally friendly and visually appealing addition to Minoh City,Osaka. https://archello.com/project/atelier-bisque-doll

Foto’s

Plannen/snedes/axonometrie

AWAJI YUMEBUTAI Awaji

studiereis Japan 2019

TADAO ANDO

AZUMA HOUSE Osaka

studiereis Japan 2019

TADAO ANDO

Azuma House – Row House ARCHITECT: TADAO ANDO YEAR: 1975-1976 LOCATION: SUMIYOSHI, OSAKA, JAPAN

Introduction Azuma House in Sumiyoshi, also known as Row House, was one of the first works of selftaught architect, Tadao Ando. He divided in three a space devoted to daily life, composed of an austere geometry, with the insertion of an abstract space dedicated to the play of wind and light. His objective, he says, was to challenge the inertia that has invaded our everyday lives.

Ando, who sees himself as a fighter-architect, developed a series of brave proposals for small houses. Among them, Azuma House in Sumiyoshi is his proudest achievement: a fortress from an architect who developed his skills through repeated ‘combat tests’. It’s also a house in which the distinguishing features of his later works are already evident.

For it, he received an award from the Japanese Association of Architecture in 1976.

Location Located in Sumiyoshi, a district in central Osaka, Japan, replacing one of the traditional wooden-built houses of the area. It is situated in the middle of three previously-built terraced houses.

Azuma House is found in the “shitumachi” (lower city) of Osaka. In the middle of this working class neighbourhood full of the noises of daily life, the house stands like a silent wall. Although the area in which it has been placed is not one of the most chaotic areas of the city, there is an obvious contrast between this “concrete box” and the surrounding environment.

nown as the district of the “ eep south” of Osaka, this area is where Ando began his career as an architect. ince the end of the

’s until the beginning of the

’s, the

architect immersed himself in the fight to create ample living spaces in narrow spaces. It was a fight to establish his identity as an architect while struggling with complex components: tradition and modernity; the desires and limited budgets of his clients; the demands of daily life; and the demands of aesthetics in a city which still maintained a strong Asian tradition.

Concept Azuma House developed a theme of design, but also a social theme. Tadao Ando presented a cement box in the middle of a row of dilapidated wooden houses, of which there are masses in the central areas of Osaka, and created a highly self-sufficient living space within that box. Guaranteeing individual privacy (something which the traditional houses did not provide) and creating a residential space which allowed for the development of modern individuals. It is an expression of the belief that Ando had, that the home is exactly the construction which can change society.

Built between dividing walls, the house sits within a plot of 57.3m² with a total constructed floor-space of 64.7m², divided into three equally sized sections: two spaces and a patio. It is a concrete box which occupies the entire plot. The building, moving towards its centre in terms of its organisation of space, is divided into 3 spaces and centres on an uncovered patio.

The treatment which Ando gives to nature in the city is another of the points which distinguishes his work. Convinced that the relationship between it and the human being is fundamental for the latter, he incorporated into the construction a way of living in which the inhabitants would participate in nature. In winter with the cold and the rain, or in the heat of summer, home-dwellers would have to go outside, as they have to cross the uncovered patio to access the kitchen and bathroom, feeling the wind or the rain on your face or being able to gaze out at toward the sky. The open patio is an “oasis” within the hustle and bustle of the city a place in touch with nature within the house, which allows the entry of light, air, rain, cold or heat, to watch the clouds go by or gaze at the sun; a window which allows you to cohabit with nature.

Spaces The austere façade, whose only decoration is the appearance of the exposed concrete (a detail which would become a signature of Ando’s works) presents us with an axially symmetrical composition with an entrance in its centre. There are only two rectangular forms used by the architect in its elevation: the general outline of the building and the entranceway.

The totality of the austere space has been divided longitudinally in three parts: two interior, closed spaces of equal size which contain the living area, kitchen and bathroom on the lower floor and bedroom and study on the upper floor, at once separated and united by the open-air patio. This three-way partition is applied to the building as a whole and echoes the long-short-long pattern of the façade, that is: wall-entrancewaywall.

The patio and nature The factor which makes this patio so unique is that there is no way to cross to either side of the house without going outside; without coming into contact with nature. Before anyone who sees this as an inconvenience rather than a benefit of this space, Tadao Ando defends his design with these words: “

In the moment, I thought of residential design as the creation of a space where

people could live as they desired. If they felt cold, they could put on another layer of clothing. If they felt warm, they could take clothes off. The important thing was the space, not a mechanism for temperature control, but something defined and receptive to human life

o matter how advanced society becomes, institutionally or

technologically, a house in which nature can be felt represents to me the ideal environment in which to live ” Crossing over the entranceway, you turn to the right to access the living room, from the living room to the patio where you turn again to reach the staircase which takes you to the upper floor or go straight ahead to arrive at the kitchen and bathroom. A complex circulatory layout transforms a simple geometry into a rich spatial experience. This progression is a technique to transform, through experience, a cold geometric form into a living space, and is fundamental to Ando’s architecture. he architect’s treatment of nature within the city is another factor which distinguishes his work.

On the ground floor are situated the living room, kitchen and bathroom, separated by the external patio which is the focal point of family life, and the stairs which lead to the upper floor. At the top of the stairs, you are faced with a bedroom and study, joined by a corridor. The central, uncovered space is the only source of natural light in the whole house.

The patio, which acts as the axis of daily life of the house separates the living room, at one extreme of the ground floor, from the kitchen-diner and bathroom, situated at the other extreme. On the upper floor, the studio faces the main bedroom, which is located on the other side of the central courtyard and reached by a corridor. The building presents a blind façade to the street. The presence of a door suggests the use of this box.

Materials The material used in this construction has a psychological effect on the observer, precisely because the absence of decoration invites an extraordinary empathy. That is the reason why it is said that the buildings of Tadao Ando are the maximum expression of the Japanese sense of beauty. A “place of nothingness” is in the very nature of Japanese cultutre.

The exposed reinforced concrete used for this house is presented as the only ornamental structural element, both in the exterior covering and the interior walls, accompanied by some glass walls which look onto the patio and some wood finishes.

Bedrooms In each bedroom there are four surfaces of exposed concrete. One of these is the floor slab which, although covered in wood as insulation, permits the conduction of thermal energy through the other four walls and the ceiling. The fourth wall is a pane of floor-toceiling glass, with a door also made of glass and metal frames.

Patio The open patio, surrounded by walls of concrete, glass and slate, reflects the natural light and creates complex shadows.

Bronnen: https://en.wikiarquitectura.com/building/azuma-house-row-house/# Baek, J. (2010). Climate, Sustainability And The Space Of Ethics. Architectural Theory Review, 15(3), 377-395. https://www.archiweb.cz/en/b/dum-azuma

BENESSE HOUSE OVAL HOTEL Naoshima

studiereis Japan 2019

TADAO ANDO

BENESSE HOUSE PARK HOTEL AND BEACH Naoshima

studiereis Japan 2019

TADAO ANDO

Benesse House Park Hotel and Beach, Naoshima, Tadao Ando, 2007 Bron: http://benesse-artsite.jp/en/stay/

Plan Island Park Hotel

Beach (Hotel)

Bron: https://www.nytimes.com/2011/08/28/travel/naoshima-japan-an-unlikelyisland-as-art-attraction.html

Park Room

Beach Hotel

BENESSE HOUSE MUSEUM Naoshima

studiereis Japan 2019

TADAO ANDO

Benesse House Museum - Tadao Ando

C ART HOUSE Unijima

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KAZUYO SEJIMA

C Art house Kazuyo Sejima

C-Art House, the second of the two galleries, occupies a renovated nineteenth-century timber shed near the coastline.

The structure of this building is revealed inside, where ageing wooden trusses are supported by modern timber columns. Timber panels line the walls, while a panoramic screen provides a surface for film screenings.

To tie in with the opening of the new galleries, all five spaces are presenting a combined exhibition where each space is dedicated to the work of a different artist.

Leveling strings, temporarily visualizing an area which is there but cannot be seen are used as an index in this artwork. Their vivid color is reminiscent of rays of light. These rays, made by the strings running throughout the building, only exist in space, but also form pools of light. Part of the work was woven by islanders, creating a connection between the island, the artist and visitors

CHICHU ART MUSEUM Naoshima

studiereis Japan 2019

TADAO ANDO

CHICHU ART MUSEUM – TADAO ANDO

Tadao Ando buries his architecture at the at the CHICHU ART MUSEUM so only the voids emerge from the earth Tadao Ando's Chichu Museum represents a welcome return to the intense, small-scale work that first made the Osaka architect famous. In the same vein as his Church of the Light (completed in 1989 in Ibaraki, a suburb of Osaka) and other early projects, this sanctuarylike museum blocks out extraneous visual information and focuses attention on light and sky. Aptly named chichu, or "within the earth," the new museum is a collection of concrete volumes embedded in a hilly site overlooking Japan's Inland Sea. Privately owned by the Naoshima Fukutake Art Museum Foundation, the building features permanent installations of works by just three artists--Claude Monet, Walter De Maria, and James Turrell--each displayed in a self-contained gallery. The architect bound the galleries together with a labyrinthine sequence of spaces--light and dark, open and closed--serving as both passage and destination. Visitors journey to the museum's remote island to view the art, but they leave impressed with the powerful impact of Ando's architecture.

The museum sits on Naoshima, a 3.15-square-mile island southwest of Osaka. Accessible only by boat or ferry, the island is a throwback to another era. At its center, a castle town from the Edo Period (1603-1868) functions as a sleepy hub riddled with narrow streets and wood houses, some of which are now used for art installations. While a copper refinery dating from the Taisho Period (1879-1926) dominates the island's northern side, Benesse Corporation, a Japanese publisher of educational books and study aids, has been transforming the southern side into a cultural district with the help of Ando and other architects. The company first collaborated with Ando on the Benesse House/Naoshima Contemporary Art Museum, a combined gallery and hotel that opened in 1992.

Venturing less than half a mile from Benesse House, visitors approach the 27,700-square-foot, reinforced-concrete Chichu Museum along a ramped walk leading up to an opening in a semidetached concrete wall that slices across the hillside and serves as the building's entry facade.

Once past the threshold, they find that sunlight disappears and a disorienting semidarkness takes over. Devoid of signage and other identifying features, a tunnel-like passageway separates the outside world from the museum's somber interior and leads to a sunken, square forecourt carpeted with green stalks of scouring rush, a segmented grass distantly related to bamboo. Like most traditional Japanese gardens, this one is for the eyes only. But as the walkway continues, it steps up and wraps around the courtyard perimeter, offering a variety of views of the greenery below. At the top, visitors enter the lobby but have to go outside again to reach the galleries.

A second trenchlike walkway, this one exposed to the sky but defined on either side by tilting, concrete planes, leads to the heart of the museum: a triangular courtyard whose base forms the museum's lowest level, though its 98-foot-high sheer concrete walls enclose the museum's tallest space. Bracketed by the endless sky above and jagged chunks of limestone scattered over the floor below, the hollow core functions as a bold and arresting element inside the museum, yet is barely visible from the outside. Exterior stairs lure visitors down to the courtyard, which provides access to the De Maria gallery, while concealed ramped walkways--alluded to by diagonal slits in the walls-lead back up to the Turrell and Monet galleries.

The museum's circuitous path culminates in a cafĂŠ where customers can dine refectory style at austere wooden tables designed by Ando, while gazing out at the sea and the city of Takamatsu across the water. Framed by a floor-to-ceiling picture window, the marvelous view connects the museum with its setting.

Like the circulation spaces, the galleries are meditative and inwardly focused. Ando's primary role here was to provide raw space for art, leaving the installation design to the individual artists (or the museum curator, in the case of Monet). Though the three exhibitions are very different, the artists' works have certain shared traits. De Maria's massive concrete stairs bathed in daylight, Turrell's mind-bending manipulation of artificial light, and Monet's soothing water-lily murals all have a strong architectural character, while relating, albeit abstractly, to nature as well. In addition, all three artists have prior connections to Naoshima. De Maria and Turrell had created installations on the island in 2000 and 1999, respectively. And the Monet paintings, purchased by Benesse's founder Tetsuhiko Fukutake some years ago, were the inspiration for the museum complex in the first place. Though the Impressionist masterpieces remain privately held, Fukutake's son, who now runs the company, thought they ought to be publicly displayed.

The question was how to do this. Though the gallery is underground, the museum curator felt the famous artworks should be shown as stipulated in the artist's writings: in daylight and as integral parts of a wall. The experience starts with an exchange of street shoes for cushioned slippers at the gallery entrance--an intimate act usually associated with entering a private home. Here it engages the body in the viewing experience and, on a more practical note, limits dirt from sullying the gallery's tile floor, composed of 700,000 milky white, marble cubes imported from Italy. Contrasting sharply with the smooth but hard-edged palette of glass, steel, wood, and concrete used elsewhere

by Ando, this gallery's articulated floor surface, white plaster walls, and filtered, ambient daylight from above define the room's soft, muted atmosphere. Even the corners of the square space were gently rounded lest their sharp lines distract from the art. The only honed element in sight is a concrete bench designed by Ando but relegated to the gallery's entry vestibule. As Monet requested in his writings, the paintings are housed in high-precision, flush-mounted glass cases that also protect them from the ravages of room air saturated with saltwater.

While the museum proudly brings its Monet masterpieces to public attention, Ando hopes his building will eventually all but disappear. He envisions a time when plants and shrubs blanket its exposed surfaces so only the Platonic shapes of the courtyards and skylights are visible from above.

"Both previous designs for the Naoshima Contemporary Art Museum and its Annex have reflected my idea of half-burying the buildings underground, out of consideration for the landscape," explains Ando. "Here, the method is pushed even further by submerging the building's entire volume below the ground." By pursuing this strategy, Ando has done something remarkable: create monumental space without the monumentality.

A ART HOUSE – KAZUYO SEJIMA

Bron: El Qroquis

CHRISTIAN DIOR STORE Osaka

studiereis Japan 2019

KENGU KUMA

Christian Dior Store / Kengo Kuma PROJECTINFORMATIE ARCHITECT Kengo Kuma PERIODE 2004 LOCATIE Osaka, Japan PPERVLAKTE 8.297.36 m²

LVMH OSAKA

In de drukte van Osaka plaatste Kengo Kuma een ‘glanzende juwelendoos’.

Voor het ontwerp van dit boetiek- kantoorproject werd de buitenmuur als startpunt voor verkenning gekozen. Gegeven wat hij de dichotome techniek van muur – ondoorzichtig en raam – transparant noemt, besloot hij deze verschillen te vervagen door de kantoorvloeren in een doorlopende huid van steen te wikkelen die aan de buitenkant gedurende de dag ondoorzichtig lijkt, maar ’s nachts licht doorlaat.

Aan de hand van stenen in drie diktes die subtiel het licht doorlaten (4mm, 75 µm en 30 µm) en drie verschillende technieken, verkreeg hij het gewenste effect. Onyx is de bijzondere steen, hoogstwaarschijnlijk vanwege zijn superieure krachten van lichttransmissie, zelfs bij diktes waar andere stenen geen licht doorlaten. Een stuk van 4 mm wordt ingeklemd tussen glas, zoals een laminaat. Daarnaast is er een 30 µm onyxpatroon dat op het glas gedrukt wordt. Tenslotte wordt een 75 µm dikke pet-film aangebracht. Gecombineerd met de natuurlijke onvolkomenheden van steen, creëren deze drie variaties subtiele veranderingen rond het gebouw.

De steen laat gedurende de dag licht toe, terwijl ook zicht door bepaalde stukken mogelijk is. In plaats van alleen te reageren op muur / raam en ondoorzichtige / transparante techniekeen, is Kuma ook ingegaan op volledig geglazuurde vliesgevelconstructie die net zo alomtegenwoordig is. In dit ontwerp heeft hij een techniek ontdekt die ergens tussen de twee valt terwijl hij een unieke aanwezigheid is voor zowel de stad als de bewoners van het gebouw.

Op die manier fungeert het gebouw niet alleen als huisvestiging voor een comfortabele en functionele kantoorruimte maar ook als boetiekruimte, oa die van Louis Vuitton en Christian Dior. Er is gekozen om de verschillen tussen een glinsterende commerciële façade en een eenvoudige gevel van een kantoorgebouw niet tegen elkaar uit te spelen, maar te opteren voor een continu spectrum. De stenen krijgen elk afzonderlijk een ander uitzicht afhankelijk van hoe het licht invalt, dag en nacht en op welke manier de steen samengesteld is.

Ook de liftlobby is bedekt met dezelfde steen: de muren, het plafond en de vloer. Alleen de roestvrijstalen deuren, frames, basis en fittingen breken het stenen uitzicht. Het is net iets uit een Stanley Kubrick-film. De liftlobby op de bovenste verdiepingen zorgt voor enig reliëf in de muren, plafonds en vloeren.

BRONNEN http://www.newitalianblood.com/show.pl?id=3829 https://archidose.blogspot.com/2005/10/lvmh.html https://www.floornature.com/kengo-kuma-lvmh-osaka-japan-2004-4934/ https://books.google.be/books?id=JnXEA76XkrwC&pg=PA119&lpg=PA119&dq=lvmh+osaka+kengo+kuma&source= bl&ots=qA6gzRXczr&sig=ACfU3U2kTpfjn5HdxCUom9WCAvX4891zbA&hl=nl&sa=X&ved=2ahUKEwjhNDBx_fgAhWGmLQKHTDOBHMQ6AEwC3oECAgQAQ#v=onepage&q=lvmh%20osaka%20kengo%20kuma&f=false https://kkaa.co.jp/works/architecture/lvmh-osaka/

PLANNEN FLOOR PLANS

GEVELS

DETAIL ONYXPLATEN

CHURCH OF LIGHT Osaka

studiereis Japan 2019

TADAO ANDO

Church of Light, Osaka

Architect: Tadao Ando Project Year: 1999 Location: Ibaraki, Osaka, Japan

In the small town of Ibaraki, 25km outside of Osaka, Japan, stands one of Tadao Ando’s signature architectural works, the Church of the Light. The Church of the Light embraces Ando’s philosophical framework between nature and architecture through the way in which light can define and create new spatial perceptions equally, if not more so, as that of his concrete structures. Completed in 1989, the Church of the Light was a renovation to an existing Christian compound in Ibaraki. The new church was the first phase to a complete redesign of the site – later completed in 1999 – under Ando’s design aesthetic.

For Ando, the Church of Light is an architecture of duality – the dual nature of existence – solid/void, light/dark, stark/serene. The coexisting differences leave the church void of any, and all, ornament creating a pure, unadorned space. The intersection of light and solid raises the occupants awareness of the spiritual and secular within themselves.

The employment of simplistic materials reinforces the duality of the space; the concrete structure removes any distinction of traditional Christian motifs and aesthetic. Besides an extruded cross from the east facing façade, the church is composed of a concrete shell; the concrete adds to the darkness of the church by creating a more humble, meditative place of worship. As a testament to minimalist architecture, the crosses void in the east facing wall is the only prominent religious symbol present in the church.

Formally, Ando’s Church of the Light is minimalist and reductive of religious paraphernalia to a simple cruciform extrusion, which is often criticized as disturbingly empty, void, and undefined. Although it has been stated to be nothing more than six walls and a roof, there is a whole level of design aesthetic implemented by Ando and his contractors that is misread and unrecognized by the occupants.

As a modern, minimalist structure the Church of the Light emits an architectural purity that is found in the details. The reinforced concrete volume is void of any and all ornament that is not part of the construction process. The seams and joints of the concrete are built with precision and care by master Japanese carpenters, along with Ando, that have worked to create an immaculately smooth surface and accurately aligned joints. So much so, that the seams of the concrete formwork align perfectly with the crosses extrusion on the east side of the church.

The concrete construction is a reinforcement of Ando’s principal focus on simplicity and minimalist aesthetic; however, the way in which the concrete is poured and formed gives the concrete a luminous quality when exposed to natural light. Ando’s decision to place the cross on the east façade allows for light to pour into the space throughout the early morning and into the day, which has a dematerializing effect on the interior concrete walls transforming the dark volume into an illuminated box. Ando’s approach to light and concrete in the Church of the Light, as well as his other projects, has a surreal effect that perceptually changes material into immaterial, dark into light, light into space.

“In all my works, light is an important controlling factor. I create enclosed spaces mainly by means of thick concrete walls. The primary reason is to create a place for the individual, a zone for oneself within society. When the external factors of a city's environment require the wall to be without openings, the interior must be especially full and satisfying.” –Tadao Ando

CHURCH ON THE WATER Tomamu

studiereis Japan 2019

TADAO ANDO

Church on the Water Tomamu, 1988 Architect: Tadao Ando

Inleiding Gebouwen zijn altijd ontworpen met een doel. Aan dit doel word door de architect een concept gekoppeld. In het ontwerp staat alles in verband met het doel en het concept van het gebouw. Een bepaalde vorm in het gebouw heeft altijd een functie die is vormgegeven volgens het concept. In deze analyse gaan we kijken hoe dit is toegepast op het gebouw “Church on Water” dat staat in Ibaraka, Osaka te Japan sinds 1988. De architect is Tadao Ando. De analyse vond plaats door middel van een schetsverslag en een motivatie.

Locatie De Church on water is gelegen in een natuurgebied. Het kapel behoort tot een hotel genaamd: Alpha resort en het is gebouwd tussen 1985-1988. De omgeving bestaat uit een bosgebied in het noorden van Japan. Dit natuurgebied ligt in de buurt van Hokkaido. Er heerst een landklimaat, dit houdt in dat er een groot verschil is in temperatuur in de winter en in de zomer. Tadao Ando heeft optimaal gebruik gemaakt van zijn omgeving, en heeft als het ware een kunstmeer gecreëerd. Dit zorgt voor een gevoel van rust in het drukke bos.

Tadao Ando heeft verschillende elementen in zijn kapel gezet, deze zijn: een L-vormige muur, het kruis in het midden van het water en de bezinningsruimte. De L-vorm dient als afscheiding tussen het bos en het meer en voor een mooi uitzicht over het meer.

De kapel zelf is eenvoudig opgebouwd. Deze bestaat uit 2 rechthoeken die elkaar voor een stuk overlappen. Deze overlapping heeft een afmeting van 10 bij 15 meter en is tevens de doorgang naar waar de kapel zich bevindt. De kapel zelf is een zeer gesloten betonnen ruimte met aan een kant een grote opening richting het water en het kruis. Tadao Ando heeft er duidelijk voor gezorgd dat er focus ontstaat op het kruis, maar ook naar de achterliggende omgeving. Deze geeft een gevoel van rust en overweldigt je wanneer je in de ruimte staat. Deze grote opening bestaat bijna volledig uit glas, hierdoor lijkt het net of je zo naar buiten kunt stappen.

Het kruis zelf is niet alleen spiritueel gezien erg belangrijk maar voegt ook iets toe aan het ontwerp zelf. Het is namelijk het punt waar naar gekeken wordt. Hier heeft Tadao Ando ook mee gespeeld.

Schetsverslag Het concept is de natuur. Door het gebouw als een soort kijkdoos te gebruiken die de natuur in kijkt is de aandacht hierop gericht.

Naast het gebouw bevindt zich een poort die enerzijds fungeert als plaats waar bij goed weer het glas van de glazen wand naartoe geschoven kan worden. En anderzijds de poort tussen natuur en cultuur die het heilige en het profane symboliseert.

Binnen het ontwerp is een duidelijke scheidingslijn tussen Natuur (Gemaakt door God) en Cultuur (Gemaakt door de mensheid). Alleen het kruis dat symbool staat voor het geloof, het heiligen en god is te vinden midden in de natuur op een centrale plek voor de toeschouwer.

Ook de muur heeft te maken met deze scheiding. Achter de muur bevind zich een hotel. Dit hotel zou het ontwerp en het concept ernstig verstoren wanneer de muur er niet had gestaan om deze te verbergen/scheiden.

In de entree van het gebouw was licht nodig.

Dit is gedaan door een glazen kubus met kruizen om het dak te zetten.

Functie: verlichting inpandig, functie van het gebouw in 1 oogopslag duidelijk. Daarnaast stellen de kruisen in de kubus voor dat het goddelijke in alle hoeken te verspreid. Wanneer het nacht is, is de functie van het licht omgedraaid. Dan word door het licht inpandig de kubus met de kruizen verlicht wat nogmaals de functie van het gebouw benadrukt.

Motivatie Het concept natuur is zeer duidelijk in dit ontwerp. Wanneer men zich in de hoofdruimte van het gebouw bevindt wordt je oog onmiddellijk en overweldigend naar de open muur/raam getrokken waar de kijker geconfronteerd wordt met de schoonheid van de natuur.

Het ontwerp is verder zeer eenvoudig gehouden. Het gebouw zelf is eigenlijk niet veel meer dan een paar op/in elkaar gezette kubussen. De materialen en inventaris zijn monotoon gehouden. De schoonheid buiten is waar naar gekeken moet worden, niet de binnenkant van het gebouw. De open wand is het gebouw en het open water daarachter scheppen vrijheid. Wanneer het weer goed is schuift men de glazen wand opzij waardoor de natuur ook gehoord en geroken kan worden. Ook dit versterkt het geheel. Men voelt zich niet gevangen in een kubus. De muur die het hotel uit zicht houdt schept een sfeer van veiligheid/geborgenheid/intimiteit. De kijker verdwaalt hierdoor niet in de overweldigende natuur. De muur begeleidt de kijker in zijn reis.

Wat opvallend is, is dat de natuur eigenlijk in de plaats is gezet van het altaar en de heilige beeltenissen die in traditionele kerken te zien zijn. Wat de ontwerper wil zeggen is; kijk, dit is wat God gemaakt heeft, dit is God. Dit versterkt hij door het kruis, wat het symbool voor het geloof is, midden in deze natuur te plaatsen.

Conclusie Concept is de natuur (als Gods creatie) en rust.

In het ontwerp is er niets zonder functie. Alles staat in verband met het doel van het gebouw als zijnde kerk, God dichter bij de mens brengen. Door de somberheid in de hoofdruimte kan men niet ontgaan aan wat zich buiten bevind.

http://tadaoandoavans.blogspot.com/2012/04/church-on-water.html

Foto’s

Tekeningen/axonometrie

maquette

plannen/snedes/gevel

F ART HOUSE Inujima

studiereis Japan 2019

KAZUYO SEJIMA

F Art House, Inujima, Kazuyo Sejima

FACE HOUSE Kyoto

studiereis Japan 2019

KAZUMASA YAMASHITA

Face House Locatie: Kyoto, Japan Architect: Kazumasa Yamashita Bouwjaar: 1974 Bron: (2015). Face House in Kyoto, Japan by Kazumasa Yamashita. Geraadpleegd op 19/02/2019 via https://www.architectural-review.com/essays/archive/face-house-in-kyoto-japan-by-kazumasayamashita/8685353.article

Bron: https://www.pinterest.com/pin/353040058274915024/?lp=true

FISH IN THE FOREST Kobe

studiereis Japan 2019

FRANK O. GEHRY

Fish in the Forest, Frank Gehry – Kobe, 1987

Frank O. Gehry, Sketch for Fishdance Restaurant, Kobe, Japan, Exterior perspective 1986-87

The meaning behind the Fish?

Frank Gehry: “When I was a kid I used to go to the market with my grandmother on Thursdays. We’d go to the Jewish market, we’d buy a live carp, we’d take it home to her house in Toronto, we’d put it in the bathtub and I would play with the goddamn fish for a day until the next day she’d kill it and make gefilte fish. I think maybe that has something to do with it.” 67 “I started thinking about the fish and realized how beautiful it was. (…) The fish evolved further: I kept drawing it and sketching it and it started to become for me like a symbol for a certain kind of perfection that I couldn’t achieve with my buildings. Eventually whenever I’d draw something and I couldn’t finish the design, I’d draw the fish as a notation.(…) For me it’s a symbol of perfection.” 68 “I had an obsession with fish and snakes. The fish became an obsession when people started rebuilding Greek temples. I was very annoyed with PostModernism. In the early beginnings I felt that we were just starting to find a way to deal with the present so why did

we have to go backwards? I got very angry and said: ‘Well, if we’re gonna go backwards, we can go back to fish which are 500 million years before man’.” 70 “I think that the primitive beginnings of architecture come from zoomorphic yearnings and skeletal images, and you know, the fish preceded man on this earth. So there’s historic content to it.” 71

67

68 70 71

Frank Gehry in: ARNELL, Peter & BICKFORD, Ted. “No, I‘m an architect”: Frank Gehry and Peter Arnell: a conversation, in: Peter Arnell & Ted Bickford (eds.), Frank Gehry: buildings and projects, New York, Rizzoli International Publications, 1985, p. xvii.

Ibidem, p. xvii.

Frank Gehry in: Ibidem, p. 216.

Frank Gehry in: ARNELL, Peter & BICKFORD, Ted. “No, I‘m an architect”: Frank Gehry and Peter Arnell: a conversation, in: Peter Arnell & Ted Bickford (eds.), Frank Gehry: buildings and projects, New York, Rizzoli International Publications, 1985, p. xvii.

FORMER SITE OF A STONECUTTER’S HOUSE Inujima

studiereis Japan 2019

KAZUYO SEJIMA

Deze ‘Former site of a stonecutter’s house’ is deel van ‘The Inujama Art House Project’ door Kazuyo Sejima. Het verenigt kunst en architectuur met het landschap van het eiland en haar bevolking. Dit project, dat zich uitspreidt over het kleine dorpje, gaat uit van oude verlaten of afgedankte structuren op het eiland en vormt ze om tot kunstwerken. Waar mogelijk werden zo veel mogelijk originele materialen hergebruikt, waaronder roofing en andere materialen van deze oude huizen, of transparant acrylglas en aluminium die het landschap reflecteert. Bij de steenhouwerssite specifiek werden op de restanten van deze oude woning levendige motieven van planten en dieren geschilderd, waardoor deze vloer een zeer oud en authentiek uiterlijk kreeg.

Inujama Kazuyo Sejima

Former Site Of A Stonecutter’s House

FUKITA PAVILION Shodoshima

studiereis Japan 2019

RYUE NISHIZAWA

19/11/2013

Fukita Pavilion of Ryue Nishizawa in Shodoshima (Japan) Looking like two gently curving sheets of paper joined at their corners, the Fukita pavilion created by Ryue Nishizawa – cofounder with Kazuyo Sejima of the firm SANAA – is part of the project that the Tokyo architect has carried out in an old school on Shodoshima Island to turn it into Fukutake House, a platform for Asian art built for the recent 2013 Setouchi Triennial, and containing exhibition galleries, a restaurant, and other communal spaces. Punctured at one point by a tree, this sand-colored metal installation lifts its four tips to make room for a crescent-shaped bench where visitors can rest.

GALLERIA AKKA Osaka

studiereis Japan 2019

TADAO ANDO

GALLERIA AKKA - TADAO ANDO 1988 OSAKA

GARDEN OF FINE ARTS Kyoto

studiereis Japan 2019

TADAO ANDO

Garden of fine arts Designed by Tadao Ando and completed in 1994, this outdoor museum presents nearlife sized reproductions of famous masterpieces on porcelain panels.

The Garden of Fine Arts is seen as an oasis of European ‘taste’ amidst the chaos of Japan’s ancient capital city. The ‘garden’ exploits light, water and the contemporary materials of glass and concrete to evoke the serenity of traditional Japanese architecture. Choice European artworks are transferred to ceramic panels (the most memorable being Monet’s “Waterlillies” brought to life underwater) with two intertwined ramps descending below street level, creating a series of chance encounters between art and the visitor. The gallery can be read as an interpretation of the traditional Japanese stroll garden, where an unfolding journey gradually reveals objects from mythical scenes often in unexpected ways.

There are 8 works in all and include Michelangelo’s “The Last Judgment” and high priest Toba’s “The Scroll of Frolicking Animals and Humans.” This is the world’s first open-air art garden. Following a gentle slope down to the second-floor basement, you can enjoy the corridor’s unique construction and the sound of rushing water from a large and small waterfall and pond. With the greenery of the nearby botanical garden in view you’ll feel as if you have been dropped in the center of a deep wood. (https://www.architravel.com/architravel/building/museum-of-fine-arts/)

GC BUILDING Osaka

studiereis Japan 2019

SHIGERU BAN

GC Building Shigeru Ban plannen

Osaka 2000

GINZAN ONSEN FYJIYA RYOKAN Obanazawa

studiereis Japan 2019

KENGO KUMA

Ginzan Onsen Fujiya Ryokan

Kengo Kuma, Obanazawa, 2006

Just as gene splicing raises controversies in the field of biology, experiments in recombinant architecture pose both practical and philosophical dilemmas.

In reconfiguring a 100-year-old onsen (hot spring hotel) in Japan’s snow country, architect Kengo Kuma raises such issues, grafting modern elements onto historic roots and giving traditional design strategies contemporary interpretations. While strict preservationists may argue with his hybrid approach to history and construction, Kuma fuses eras in a manner that is simultaneously radical and subtle.

Nestled at the bottom of a narrow valley in Yamagata Prefecture on the main island of Honshu, the Ginzan Onsen Fujiya stands shoulder-to-shoulder with 13 other inns facing the Ginzan River. Although most of the buildings have been altered over time, they still form a historic ensemble with powerful appeal to tourists and television crews (the popular 1983 Japanese series Oshin was shot here). So breaking ranks with the scale or massing of its neighbors was out of the question.

“We wanted to retain the continuity of the old facade while introducing a new spirit and modern amenities,” explains Kuma. To do so, the architect took apart the existing building, then reassembled it using old and new wood members. He kept the original silhouette and traditional Japanese post-and-beam construction, but inserted larger, wood-framed windows and a new sliding glass entry wall. “The idea was to connect the street with the lobby inside,” says Kuma.

“So we established a new sense of transparency.”

Recessed beneath sloping wooden eaves and set behind a pair of reflecting pools, the entry wall reveals a materiality that hints at the era-blending design within. Here, Kuma employed a centuries-old, hand-blown-glass technique from France called dalle de verre. The vitreous panels, set within a steel frame, create a slightly mottled, subtly stained greenish-blue surface that infuses the lobby with an almost aqueous character. And instead of welcoming guests into a low-ceiling reception space (as is customary in Japanese inns), he wows them with a two-story-high atrium furnished with modern tables, chairs, and sofas that he designed with a Zen-like simplicity of form.

Entrance hall

Ginzan Onsen Fujiya Ryokan

Layering space with screens is a traditional Japanese device, but Kuma imbues it with an inventive spirit by choreographing a sequence of entry rooms divided by veillike walls of remarkable materials. Beyond the gridded panes of dalle de verre comes a two-story-high partition of thin bamboo strips that reveals a scissor stair at the back of the building. Master craftsman Hideo Tanaka sliced 30,000 poles of bamboo from Oita Prefecture, on the island of Kyushu, into 1.2 million strips, each 4 millimeters wide, and attached them to sectional frames to create this ethereal divider and others throughout the hotel. The thin strips retain the idiosyncratic bumps and crooks of the original bamboo poles, establishing a sense of natural variation within their vertical repetition. They practically beg you to explore them with your fingers.

Material investigation--especially with buildings’ skins-has informed much of Kuma’s work over the years, from his Water/Glass Villa in Atami, Japan, where he created a poetic dialogue between reflective surfaces, to his Lotus House near Tokyo [record, April 2006, page 98], where he subverted the weightiness of stone by creating a porous checkerboard of travertine plates suspended

from stainless-steel bars. At the Fujiya onsen, Kuma has designed rooms with generous, modern proportions and wrapped them in traditional materials crafted the oldfashioned way. Just as Tanaka stripped and assembled the bamboo for the many screens, so Masato Shida oversaw artisanal production of the dalle de verre in France. Handmade Echizen-tesuki paper, which gets its uneven surface from water dripped on it during its manufacture, graces many of the inn’s interior walls and partitions. For the communal baths, Kuma used a range of materials: bamboo on one, hinoki (a Japanese spruce) on another, and sanseikuro (a Chinese granite that has a grain similar to wood) on a third. The sun’s rays filter into each bathing area, animating the spaces with subtle changes over the course of the day. “Daylight is really important,” states Kuma. “It brings out the materiality.”

In renovating the 10,000-square-foot onsen, Kuma reduced the number of guest rooms from 12 to eight, making them larger and giving each a small, private bath. He eliminated most furnishings, providing each room with ash-veneer cabinets, bentwood chairs, and an ash table, all of his own design. “I was thinking of

Café

Bamboo screen

Bathroom

Ginzan Onsen Fujiya Ryokan

two things,” says Kuma of this project, “focusing on the essence of the materials and minimizing the details.”

In some of his earlier projects, Kuma had exhibited an ironic approach to materials, making plates of stone float in the air at the Lotus House, for example. But at the Fujiya onsen, he plays it straight, while creating frankly modern spaces. “In other projects, I combined old and new in a mostly metaphorical way,” says the architect. “Here, I combined them more literally.”

The result is a building that may be less overtly risktaking but more comfortable in its (reinterpreted) skin.

Pearson, C. A. (2007). Ginzan Onsen Fujiya. Architectural Record, Vol. 195 (9), pp. 122-127.

Guestroom

Section

Ginzan Onsen Fujiya Ryokan

HIROSHI SENJU MUSEUM Nagano

studiereis Japan 2019

RUYE NISHIWAZA

Hiroshi Senju Museum Architect: Ruye Nishizawa Locatie: Kariuzawa Nagano, Japan

Bouwjaar: 2011 Opp: 1818 m²

Het museum is ontstaan vanuit een samenwerking tussen de architect Ryue Nishizawa en de kunstenaar Hiroshi Senju. Uit de samenwerking is er beslist om de weelderige natuurlijke omgeving als achtergrond te gebruiken voor de kunstwerken. Daarom maakt men de scheiding tussen de parking en de beleving van het museum via een “gekleurde-bladeren-tuin” waar 60,000 bomen van 150 verschillende soorten zo lang mogelijk de verschillende kleuren van de natuur tentoon stellen.

De vloer van het museum zelf bestaat uit wit beton en golft mee met de curve van de grond ‘op een manier dat het een zijden doek had kunnen zijn’. Het dak zelf lijkt enkel zijn steun te vinden op de dunne wanden en de glaswand, het strekt zich verder uit naar het omringend park toe om dit zwevend effect te versterken.

Hiroshi Senju is vooral gekend van schilderijen zoals de waterval (cfr. 1e afbeelding) in de traditionele Japanse Nihonga stijl waarbij men traditionele materialen en schildertechnieken gebruikt die tot wel 1000 jaar oud. Het museum bezit 100 werken waarvan de helft tentoongesteld kan worden.

Senju gelooft dat je Nihonga schilderijen best in natuurlijk licht bekijkt, daarom zijn er verschillende organische gevormde patio’s waarlangs het licht binnen kan komen in het museum. Om schade aan de schilderijen te vermijden zijn de ramen behandeld om UV stralen tegen te houden en steekt het dak uit naar buiten toe.

Bijzondere regels binnen het museum: Geen schrijfgerief gebruiken tenzij potloden Niet eten of drinken in het museum Geen foto’s maken Geen GSM gebruiken in het museum Museumstukken niet met de hand aanraken.

HOUSE IN ROKKO Kobe

studiereis Japan 2019

TATO ARCHITECTS (YO SHIMADA)

House in Rokko by Tato Architects/Yo Shimada

YO SHIMADA De architect achter Tato Architects en beter bekend onder de bijnaam “Yu”. De naam Tato is afgeleid van het kanji-teken “buiten”, die op verschillende manieren gelezen kan worden. Zijn architectuur is zo gevormd dat ze zich voortdurend vernieuw door het perspectief van het dagelijkse leven. Shimada heeft geen conventionele architectuuropleiding gevolgd, wat hem niet tegenhield om zijn eigen interpretatie van architectuur te creëren die het bewustzijn beetje bij beetje probeert te veranderen.

Shimada heeft sinds 2000 meer dan dertig huizen voltooid, waaronder in 2012 de woning in Rokko. 2013 was het startschot van zijn carrière en een erkenning die stilaan uitgroeit tot roem.

Zijn woningen worden over het algemeen gekenmerkt door vreemde holten en inzichten en referenties naar de lokale architectuur. Er was niet zoveel uitleg te vinden over zijn projecten.

Ook zijn website was minimalistisch en simpel zonder kwistig om te gaan met veel commentaar. Zijn gebouwen worden het best geëvalueerd aan de hand van beelden en sferen en Shimada zorgt ook dat elke hoek in zijn woningen een foto waard is.

“I feel I have found a way to cope, on an equal footing, with the environment peculiar to this scenic site where the environment, the architecture and the resident’s various things of various styles and ages are mingling with each other.”

HOUSE IN ROKKO

De woning in Rokko is gelegen op de lijn tussen Oost en West, tussen een bergachtige wijk en de havenstad Kobe in het zuiden van Japan. Op de gelijkvloers bevinden zich de keuken en de eetkamer, bezoekerstoilet en fietsenstalling.

Een open trap leidt naar de slaapkamers, badkamer en wasruimte.

De funderingen zijn tijdens het bouwen met de hand gegraven omdat geen machines de steile heling konden beklimmen. De stalen structuren moesten samengesteld worden uit delen die gemakkelijk omhoog gedragen konden worden.

PROJECTINFORMATIE ARCHITECT Tato Architects PERIODE aug 2011 – nov 2011 LOCATIE Kobe, Japan OPPERVLAKTE 56 m²

De woning onderzoekt hoe je, terwijl je van het uitzicht geniet, niet de omgeving domineert. Volgens Shimada mag architectuur geen effect hebben op haar omgeving. De architect minimaliseerde de fysieke impact op de site met behulp van een betonnen pad op de grond, bekroond door een staalconstructie van 2 verdiepen. Op die manier is er gekozen de begane grond te ommuren met glas en aangezien er van beneden niet binnengekeken kan worden, blijft de privacy toch gegarandeerd. Dit geeft de indruk dat het huis boven de helling zweeft. Op deze verdieping moeten activiteiten uit het dagelijkse leven centraal staan zoals samen zitten met gasten, muziek maken of fietsen onderhouden.

De eerste verdieping gaat om met de typologie van een schuur en sluit zich aan bij de bestaande rijen huizen.

BRONNEN https://www.dezeen.com/2012/06/27/house-in-rokko-by-tato-architects/ https://www.designboom.com/architecture/tato-architectsyo-shimadahouse-in-rokko/ http://catesthill.com/2012/07/15/house-in-rokko-by-tato-architectsyoshimada/ https://www.wallpaper.com/architecture/in-conversation-with-japanesearchitect-yo-shimada http://tat-o.com/projects/106/ https://www.archaic-mag.com/magazine/2018/2/1/house-in-rokko-tatoarchitects

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The outsider’s view: W* catches up with Japanese architect Yo Shimada

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ARCHITECTURE | 8 MAR 2016 | BY GORDON KANKI KNIGHT

The outsider’s view: W* catches up with Japanese architect Yo Shimada

Japanese architect Yo Shimada set up his office, Tato, in 1997. His work involves a plethora of residential design, including this house in Rokko

Y

o Shimada is an outlier in Japanese architecture. The 43-year-old didn’t have formal architecture training, or a mentor, nor was he ever articled to a practice. Instead, he began his own studio in 1997 on a mountainside

overlooking Kobe. Wallpaper* sat down with him to discuss his rare position as an outsider, who enjoys looking in.

W*: Shimada-san, could you explain your studio’s name, Tato?

YS: If you were to write the name Tato in katakana [a Japanese alphabet] it is spelled タ (ta) and ト (to). Which simply sounds nice. But put the symbols together and you create the kanji character 外 (pronounced ’soto’) which means outside or outsider, referencing my status as an architect who is not from a mainstream university and who creates work that stands outside of the norm in Japan.

As an outsider did you seek out your own mentors? Which people have influenced Register for our daily digest you?

Since my student days, I’ve wanted to create work that’s a hybrid of many different architects and types. I take something from minimalists [Ryue] Nishiyama and [Kazuyo] Sejima (of SANAA), but also Osamu Ishiyama, who is a maximalist. I also count Noriaki Okabe, formerly with Renzo Piano’s studio [for 20 years – he codesigned Kansai Airport], as an influence. So I feel like I float between styles.

You seem to have had a lot of fun playing with the Japanese architectural vernacular.

To ensure Rokko House, for example, is blended in to the surrounding area, I opted for a gable roof. And it was successful. Rather than just taking something from the surrounding environment and only improving the house, I create a well-designed house that improves the environment in which it is sited. Yamasaki House is sited in a newly developed area within a place that is much older and rural. I wanted to find a way to create a building that connects new and old, suburban and rural. So the main part of the house is a large rectangular volume, like a foundation. Then, for light intake, I built, on top of that foundation, something that looks like agricultural sheds [out of polycarbonate]. The foundation space represents the ’new’ and the top volume is the ’old’. © TI Media Limited. Wallpaper* is part of TI Media Limited. All Rights Reserved.

https://www.wallpaper.com/architecture/in-conversation-with-japanese-architect-yo-shimada

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10-3-2019

The outsider’s view: W* catches up with Japanese architect Yo Shimada You’ve opted for a pared-down style. Why is this?

I want to create space that acts as a margin for everyday life. It should serve as a background. There’s no point in architecture being the centre. If it is, people would get tired of it.

Your tweets ( youshimada) show an interest in very old Japanese buildings. Are they interesting to you as an architect?

Those old buildings serve as examples for me, giving me new ideas about scale or the relationship to the ground. [Work such as Kawanishi House can be traced back to early Japanese buildings perched on stilts.]

You’ve just completed your first house outside Japan, Hamilton House in Australia.

The owner says you create ’ma’ (spaces for reflection). Do you?

Hamilton House is an architecture that is accepting of the client’s needs. A bit like a floating space, the basic form of the house is never disturbed by his re uirements [of daily living]. I think that maybe this will be felt as ’ma’.

The Rokko house design draws from its surrounding landscape and the area s ga le roofs

Shimada wanted to create a well designed house that activel enriches the environment it sits in

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© TI Media Limited. Wallpaper* is part of TI Media Limited. All Rights Reserved.

https://www.wallpaper.com/architecture/in-conversation-with-japanese-architect-yo-shimada

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The outsider’s view: W* catches up with Japanese architect Yo Shimada

or the Yamasaki House pro ect, Shimada wanted to amalgamate old and new elements. hotograph Ken ichi Su uki

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The pol car onate clad volumes represent the comple s old elements, drawing on the shapes of the region s traditional sheds. hotograph Ken ichi Su uki

Š TI Media Limited. Wallpaper* is part of TI Media Limited. All Rights Reserved.

https://www.wallpaper.com/architecture/in-conversation-with-japanese-architect-yo-shimada

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The outsider’s view: W* catches up with Japanese architect Yo Shimada

Hamilton House, located in Australia, is the architect s rst commission outside Japan

IN ORMATION Ever da Design Ever da , I I

Yo Shimada, is pu lished this week as part of the Contemporar Architect s Concept Series u lishing. or more information, visit Tato s we site

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HOUSE K Nishinomiya

studiereis Japan 2019

SOU FUJIMOTO

Sou Fujimoto

House K

I ART HOUSE Inujima

studiereis Japan 2019

KAZUYO SEJIMA

I Art House – Inujima Architect: Kazuyo Sejima Artistic Director: Yuko Hasegawa Artist: Olafur Eliasso (uit Denemarken)

Self-loop, 2015 (Vertaling) In dit werk werden er drie spiegels geplaatst in I Art House die het landschap dat zichbaar is door de ramen aan de beide kanten van het huis verbinden. één precies punt, in het midden van het werk gepositioneerd, geeft de kijker de kans om in het midden van een oneindige tunnel te staan. Door aan boord te gaan van deze reis naar een eindeloze ruimte, kunnen nieuwe sensaties worden ervaren.

We interviewed the artist about the concepts underlying his work on the day of his visit to Inujima in September. We would like to share some of his words in this blog post.

Olafur Eliasson: My work Self-loop is in a fantastic pavilion by Kazuyo Sejima. The building has a front room and a back room with a square frame in between. When I entered the space, I thought that the framed opening looks like a mirror, one which you can go through. So this pavilion is a nice place to put a work that works with mirrors.

I have placed three mirrors inside the space. At first, these mirrors appear to have been placed randomly. They are not perfectly centered, and don't follow the organization of the room. It just looks like there's a mirror in the corner, a mirror over here, a mirror over there--you don't see a system in the way they have been placed.

But there is also a circular viewfinder that functions like a guide. It's a suggestion, a proposal. And it allows viewers to stand at the exact center of an infinite tunnel.

This work is about perspective and taking perspective. Making this work, I thought about the void of seeing,

the void of perspective. I asked myself how we can see the seeing itself. I organized the mirrors with some humor, so that when you look into the mirror you see yourself from behind--looking into the mirror. It's bit like a traditional landscape painting, where you paint the viewer from the back looking at the landscape. Outside the room is a kind of soft garden, a landscape that mixes culturally and naturally organized elements. It's not a formal garden, it's a little bit romantic. I was intrigued by the fact that it is possible to arrange the mirrors so that you can see yourself looking out into the garden, because we have to learn to see our own perspective from outside. We have a first-person perspective, and we call that physical experience. We sense in the firstperson, but we are also able to think about what we are sensing, and, more importantly, how--and maybe even why--we are sensing.

I think that "why" is a good question. It's our ability to reflect on our actions, on our reasons for doing what we are doing. We are capable of criticality. Is what I see actually real, or is it the seeing itself that creates what I see? Am I taking the world in, or, by seeing, am I projecting out onto the world? That's an interesting question.

I believe that if we can take ownership of our own sensing, our sensing becomes productive instead of just being another kind of consumption. Moving through the space, noticing the ring, finding the tunnel are things that we do actively. It's not passive, like when we go to a store and allow ourselves to be influenced to buy something. Here we are a producer. The visitor to this house is a producer, a co-producer, an artist, a person who has the same responsibility as I do. There is something profoundly democratic in this idea, in the fact that nobody is more important than anybody else.

Bronnen: o Benesse Art Site Naoshima. Inujima "Art House Project":I Art House. Geraadpleegd op 16/02/2019, http://benesse-artsite.jp/en/art/inujima-arthouse.html. o Mรกrquez F. Levene R (2011). SANAA 2008-2011. El Croquis, nr.155, p158.

IMPERIAL HOTEL ENTRANCE Inuyama

studiereis Japan 2019

FRANK LLOYD WRIGHT

Imperial Hotel entrance Frank Lloyd Wright, Inuyama, 1923

Het volledige hotelcomplex werd in 1968 gesloopt. De ontvangsthal werd gereconstrueerd in het Meiji-mura museum (Inuyama).

Imperial Hotel entrance

View of the elevator tower of the south wing from the westside main entrance

Imperial Hotel entrance

Interplay of balcony and windows on the north wing wall

Northside fireplace and mural painting in the parlor

Main dining room

Entrance foyer

Imperial Hotel entrance

View of the main lobby from the gallery

View of the southwestern corner of the main lobby from the gallery Lights are built in the pillar in the center

Imperial Hotel entrance

Aerial view

Imperial Hotel entrance

Futagawa, Y. (ed.) (1980). Frank Lloyd Wright. GA, Vol. 53.

Imperial Hotel entrance

INUJIMA LIFE GARDEN Inujima

studiereis Japan 2019

KAZUYO SEJIMA

Inujima Life Garden Location: Inujima Architects : Kazuyo Sejima + Akarui Heya

Inujima Life Garden was realized through a collaboration between architect Kazuyo Sejima and Akaruiheya. The staff of Akaruiheya moved to the island of Inujima, and has been engaging with a wide range of people while working to create the botanica garden.

The plan is to generate a space where visitors can connect to the island in new ways, one that takes shape over the long term through cooperation with island residents and visitors alike.

A flower garden, with the glass greenhouse in its center, contains a wide variety of plants that delight the eye, and opposite the plaza is a vegetable garden where herbs, vegetables and fruit trees grow. In future, a bio-geo filter, biotope, composting area and so on are also to be used to build a natural energy system on the premises, while drawing water from a well that already existed on the site. Landscaping work began in the spring of 2015, and garden is a work in progress, shaped on an ongoing basis through workshops and the involvement of many students and volunteers.

An open-air cafĂŠ stall designed by Kazuyo Sejima enables visitors to relax and enjoy a leisurely time in the garden. Its exterior walls, made of corrugated stainless steel, softly reflects the colorful vegetation and the surrounding light. In addition to takeout drinks, the cafĂŠ sells original goods from the botanical garden.

When visiting the garden: The garden is located in a residential area. Please observe good manners and consider the local residents when walking around the island.

Please take any garbage away with you.

When walking around the grounds, please do not pick vegetables, flowers, plants, etc. without permission.

LIGGING

CONCEPT

PLAN

INUJIMA SEIRENSHO ART MUSEUM Inujima

studiereis Japan 2019

SAMBUICHI ARCHITECTS

JUNKO FUKUTAKE HALL Okayama

studiereis Japan 2019

SANAA

SANAA places junko fukutake hall beneath angled steel roof canopies SANAA places junko fukutake hall beneath angled steel roof canopies all images courtesy of junko fukutake hall built on okayama university‘s shikata campus, ‘junko fukutake hall’ is designed as an open and inviting space, serving as a link between the university and the neighboring community. completed by renowned japanese architects SANAA, the building is composed of various glazed boxes contained beneath a series of angled roof planes.

a foyer serves as a reception space that allows visitors to congregate

Upon entering the building, a brightly lit foyer serves as a reception space that allows visitors to congregate before making their way to one of the site’s lecture halls. the larger auditorium, which contains 210 fixed seats, can be expanded to also include the two smaller rooms at its rear, meaning that a total of 410 people can be accommodated at once. owing to its simple steel frame construction, the single storey design took only eight months to complete.

the brightly lit reception space

the larger auditorium contains a total of 210 fixed seats

the hall can be expanded to include the two smaller rooms at its rear

the entire space can accommodate 410 attendees

the smaller 100- seat volume can operate independently

a more intimate meeting room

JUNKO FUKUTAKE TERRACE CAFE Okayama

studiereis Japan 2019

SANAA

studiereis Japan 2019

KATSURA IMPERIAL VILLA Kyoto

1600 CE

Anteroom

Katte

Chashitsu

Nijiriguchi

14.11 Suminoe pine, Katsura Imperial Villa, near Kyoto, Japan

Katsura Rikyu (Katsura Imperial Villa) In contrast to the Shogun military commanders who, in developing their political ambitions, created sumptuous displays of power, the older aristocratic families, now largely disempowered, began to adopt an introspective and pseudo-rustic aesthetic influenced by the ideals of Zen Buddhism. The most celebrated example of this new aesthetic—now considered by many modern architects to be the essence of Japanese architecture—is the Katsura Detatched Palace, also known as the Katsura Imperial Villa. It was built by the nobleman Hichijonomiya Toshihito (1579–1629) and his son Toshitada (1619–62). Underlying the design is the ceremonial teahouse. In the 17th century, serving and drinking tea had become the center of lavish rituals at courtly ceremonies, with the focus on the display of quality tea ware and the presentation ceremony often upstaging the tea itself. In the latter part of the 16th century, Sen no Rikyu (1522–91), a patron of the Zen monks in Ginkakuji, transformed the ceremony into a simple, precisely choreographed, and highly personalized exercise known as wabicha. His famous dictum was “one moment, one meeting.” The goal of his ceremony, which contrasted with the extravagance of the shoguns, was to be free from all distractions—past and future—and to lead to a state of immediacy. Rikyu designed one of the first known neo-rustic teahouses, Taian, in Yamazaki, south of Kyoto, but the form found

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14.12 Plan: Taian Teahouse, Yamazaki, Japan

its ultimate expression at the Katsura Imperial Villa, a 7-hectare estate on the western bank of the Katsura River, located in a suburb of Kyoto. The main building comprises three interlinked shoins (or sections) referred to as the Old, Middle, and New Shoins, staggered at the western edge of an irregularly shaped pond with several islands. The Old Shoin, farthest to the north, was built by Prince Toshihito and the other two by his son, Prince Toshitada. The New Shoin, along with a

Front gate

Imperial gate

Ordinary gate

Central Gate Suminoe pine Tea Pavilion (Gepparo) Old Shoin

New Shoin

Shokintei

Middle Shoin

Shokatei Shoiken 0

60 m

14.13 Site plan: Katsura Imperial Villa

EAST ASIA

14.14 Garden gate, Katsura Imperial Villa

special gate and access path, was built on the occasion of the Emperor Go Mizuno’s visit to Katsura in 1663. Seven teahouses are distributed in the garden in a semicircular arc and linked by a stroll path. In its outlines, therefore, Katsura is nothing more than a nobleman’s country villa with a stroll garden, but it was also an ideological statement about the superiority of aristocratic society.

Entry

The palace has two main entry gates. The entrance into Katsura is through a simple bamboo gate located at the far end of an austere but immaculately constructed bamboo fence. Nothing of the interior is visible from the outside. Even upon entering, the view is carefully screened by a hedge.

Katsura’s next gate was built for imperial visits. Yet it, too, was patently unassuming and opened onto a straight, unedged gravel path lined with trees, leading to yet another gate. From there the gravel path turns right for 50 meters or so, the longest stretch of straight path at Katsura. Although the entire garden is to the left and the villa ahead, the view down this imperial approach is carefully screened by bushes and trees.

Small openings reveal views of the garden, a glimpse of the main teahouse, a look at the boathouse, a bridge over a water view.

When a visitor reaches the villa, there is a sharp turn to the left and a view along a promontory, edged by a thick hedge, with a miniaturized Suminoe pine tree. The framed view of the tree draws attention to, and blocks the view of, the garden beyond.

The miniaturization of the tree also makes the promontory seem longer than it is and introduces the notion of self-consciously constructed symbolism in the landscape.

Tea Pavilion (Gepparo)

Old Shoin

Middle Shoin Music room New Shoin

14.15 Plan: Katsura Imperial Villa

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1600 CE

14.16 Stepping-stones, Katsura Imperial Villa, near Kyoto, Japan

14.17 Garden path, Katsura Imperial Villa

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To the right of the promontory, over an arched wood and earth bridge, is the Central Gate, a visitor’s first encounter with the architecture. A simple freestanding wall with a rectangular opening extends out to the west from a subsidiary building which contains the commoner’s entrance. The gravel path terminates with a single large, uncut stone at the threshold, followed by four dressed stones arranged in a square. From there, a loose arrangement of uncut stepping-stones crisscrosses the straight path made from cut stones and signals one of the signature themes of Katsura’s walkways: the studied orchestration of stepping-stones to generate a haptic and tactile experience. From the Central Gate, stepping-stones lead to the entrance of the Old Shoin, called the Imperial Carriage Stop. Here, another freestanding wall with an opening, projecting out from the Old Shoin to the north, offers an alternative route, a second carefully staged path leading east to the Gepparo, the teahouse closest to the shoins. The stepping-stones winding through the opening have the quality of mysterious footprints and invite the visitor to follow them. The final step up into the Old Shoin is another uncut stone dramatically set against the straight lines of the wooden steps of the entrance porch. Another of Katsura’s signature themes is the elaboration of the villa as a simple hut. Every entrance into the villa is from large uncut stones, and every exterior post on the garden side sits directly on a stone foundation. All the wooden posts and beams were left unpolished, some with their bark intact.

The geometry that governs the plan of the three shoins is derived from the dimensions of the tatami and the sliding shoji screens covered with translucent rice paper. The spaces are orchestrated as a series of interconnected rooms, with all the important rooms facing east onto the garden. The supporting rooms are to the west and are connected to secondary structures. The Middle and New Shoins are connected by an intermediate section called the Music Room. An external veranda runs along the eastern edge of the villa, edged by sliding screen doors that can be opened and shut to modulate the light and to connect the exterior and the interior.

The spatial and visual focus of the Old Shoin is an east-west cross-axis formed by the pantry, the Spear Room, and its main space (the “second room”) with an external bamboo deck called the Moon-Viewing Platform. (The Katsura River was known as a scenic place for moon viewing in August.) A miniature stone pagoda in a clearing on the southern edge of the Island of Immortals is the view’s stable point amid a dense arboreal landscape. Its focus is the still water of the pond, which at night reflects the rising moon in the east, and by day, the trees along its irregular edges. In autumn the trees are ablaze with color, and in winter, white with snow.

14.18 Detail: Katsura Imperial Villa

EAST ASIA

14.19 Interior of Tea Pavilion (Shokintei), Katsura Imperial Villa

Katsura’s “main event” is the stroll garden.

Its design is credited to Kobori Enshu (1579– 1647), a tea master and garden designer, though this is not certain. Many walks are possible. The main walk circumambulates the pond in a clockwise direction, beginning to the north of the Old Shoin, winding around the shore, to the main teahouse (the Shokintei), on to the large island with the Shoiken and Orindo teahouses, then across the riding ground and moss garden, and back to the Middle Shoin. It is the journey, rather than the destination, that is important.

Much of the path is made of steppingstones of uncut rock. Although each stone is completely horizontal and never more than a comfortable stride from the next, they do not form a continuous walkway and can suddenly make unexpected twists and turns. This forces visitors to become aware of not only where they are walking, but of the very act of walking. When the dressed stones of the straight paths surrounding the shoins meet the stepping-stones, the latter dance around and through the former with a studied irreverence. But when they encounter the cascade of pebbles—the “sand” of the shore—they march through them like a determined walker on the beach. Sometimes they seem to have inherent purposes: the stepping-stones march straight across the

14.20 Ceiling structure of the Gepparo, Katsura Imperial Villa

wet moss garden next to the Middle Shoin; whereas the straight path is forced to skirt around the edge. At other times, they seem more functional. Along the way, stone lanterns mark places of rest. One of the most famous uses of such a lantern is at the terminus of the spit of land that projects into the pond. The lantern, known as the NightRain Lantern, marks the terminus of the path not to be taken.

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14.21 Plan: Shokintei, Katsura Imperial Villa

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Developed by photographer Yasuhiro Ishimoto, this amazing series of black and white photographs naturally blends centuries-old architecture with contemporary abstract art. In the project, Ishimoto approaches the Katsura Imperial Villa with a rare perspective that explores not only the completed construction, but also the details of the materials, textures, and spaces found throughout the interior and exterior.

Katsura Imperial Villa was constructed in Kyoto in the sixteenth century and took more than fifty years to complete. Very few are allowed to enter the property, but Ishimoto was granted access and photographed the clean lines of the classic Japanese architecture. By presenting the Villa without color, Ishimoto breaks standard expectations of typical architecture photography and transforms the structure into geometric arrangements and patterns, defining the space through the intense contrast between lines, shapes, and angles.

studiereis Japan 2019

KEIZERLIJK PALEIS Kyoto

Keizerlijk paleis - Kyoto The Kyoto Imperial Palace (京都御所, Kyōto Gosho) used to be the residence of Japan's Imperial Family until 1868, when the emperor and capital were moved from Kyoto to Tokyo. It is located in the spacious Kyoto Imperial Park (京都御苑, Kyōto Gyoen), an attractive park in the center of the city that also encompasses the Sento Imperial Palace and a few other historic sites are located within Kyoto Imperial Park, including the Kaninnomiya Mansion, a former residence of court nobles that is open to the public in the park's southwestern corner.

Not far away stands a small branch shrine of Miyajima's famous Itsukushima Shrine on a small island of a pond.

The current Imperial Palace was reconstructed in 1855 after it had burnt down and moved around town repeatedly over the centuries. The complex is enclosed by long walls and consists of several gates, halls and gardens. The 1300 meter long and 700 meter wide park also serves as recreational space for both tourists and residents, featuring attractive, broad gravel paths, lawns and tree groves. A pretty group of weeping cherry trees stands beside Konoe Pond in the park's northwestern corner and is usually in bloom for two to three weeks from late March to mid-April.

The Kyoto Imperial Palace (京都御所 Kyōto-gosho) is the former ruling palace of the Emperor of Japan. The Emperors have since resided at the Tokyo Imperial Palace after the Meiji Restoration in 1869, and the preservation of the Kyoto Imperial Palace was ordered in 1877.[1] Today, the grounds are open to the public, and the Imperial Household Agency hosts public tours of the buildings several times a day. The Palace lost much of its function at the time of the Meiji Restoration, when the capital functions were moved to Tokyo in 1869. However, peror aishō and hō a still had their enthronement ceremonies at the palace.

The estate dates from the early Edo period when the residence of high court nobles were grouped close together with the palace and the area walled. When the capital was moved to o yo, the residences of the court nob es ere de o ished and ost of Kyōto Gyoen is no a park open to the public.

The Imperial Palace has been officially located in this area since the final abandonment of the Daidairi in late 12th century. However, it was already much earlier that the de facto residence of the Emperors was often not in the Inner Palace ( dairi) of the original Heian period palace, but in one of the temporary residences ( sato-dairi) in this part of the city and often provided to the Emperor by powerful noble families. The present palace is a direct successor after iterations of rebuilding to one of these sato-dairi palaces, the Tsuchimikado Dono ( 御 Tsuchimikado-dono) of the Fujiwara clan. The palace, like many of the oldest and most important buildings in Japan, was destroyed by fire and rebuilt many times over the course of its history. It has been destroyed and rebuilt eight times, six of them during the 250-year-long peace of the Edo period. The version currently standing was completed in 1855, with an attempt at reproducing the Heian period architecture and style of the original dairi of the Heian Palace.

The grounds include a number of buildings, along with the imperial residence. The neighboring building to the north is the tĹ? ( ), or residence of the retired Emperor, and beyond that, across Imadegawa Street, sits Doshisha University. The Imperial Household Agency maintains the building and the grounds and also runs public tours.[2] The Ĺ? ( ) was constructed to house the sacred mirror on the occasion of the enthronement ceremony of Emperor Taisho in 1915. The roof is modern in that it is made out of copper and not wooden shingles.

The Shishinden ( ) is the most important ceremonial building within the palace grounds. The enthronement ceremonies of Emperor Taisho and Emperor Showa took place here. The hall is 33 by 23 metres (108 by 75 ft) in size, and features a traditional architectural style, with a gabled and hipped roof. On either side of its main stairway were planted trees which would become very famous and sacred, a cherry (sakura) on the eastern, left side, and a tachibana orange tree on the right to the west. The garden of white gravel played an important role in the ceremony.

The center of the Shishinden is surrounded by a hisashi ( ), a long, thin hallway which surrounded the main wing of an aristocrat's home, in traditional Heian architecture. Within this is a wide open space, crossed by boarded-over sections, leading to the central throne room.

The Takamikura ( 御 ) is the imperial throne. It has been used on the occasion of the enthronement ceremonies commencing in 707 in the reign of Empress Genmei. The present throne was modelled on the original design, constructed in 1913, two years before the enthronement of Emperor Taisho. The actual throne is a chair in black lacquer, placed under an octagonal canopy resting on a three-tiered dais painted with black lacquer with balustradres of vermilion. On both sides of the throne are two little tables, where the imperial regalia such as the sword and the great seal would be placed. On top of the canopy is a statue of a large phoenix called ō-ō. Surrounding the canopy are eight small phoenixes, jewels and mirrors. Hanging from the canopy are metal ornaments and curtains.

The sliding door that hid the monarch from view is called ō o ō ( ), and had an image of 32 Chinese saints painted upon it, which became one of the primary models for all of Heian period painting.

The Michodai (御 ) is the August Seat of the Empress. The current throne was constructed in 1913. Its colour and shape are the same as the Takamikura, but is slightly smaller and more simple in comparison. The canopy is decorated with a statue of the mythical bird ō. The imperial throne is always placed in the centre of the main hall, the michodai to the right of it. Both thrones are kept away from public view through screens called misu.

The yō ( ) sits to the west of the Shishin-den, facing east. It, too, has a hipped and gabled roof, and is primarily cypress wood. Originally a place where the Emperor would conduct his o n persona affairs, the eiryō-den was later used for various gatherings and meetings as well. In the center is an area where the Emperor would rest, and on the east side of the hall, an area of two tatami was set aside for dignitaries and aristocrats to sit. Here was where the Emperor could conduct formal affairs. On the north side of the hall was an

enclosed area where the Emperor would sleep at night; later, Emperors began to use the official residence. The west side was set aside for the Emperor's breakfasts, and also contained the lavatories, while the south side was used by the keeper of the Imperial Archives. This area contained paintings by the masters of the Tosa school, and just outside, various rare bamboos were planted.

The original structure was built as the Emperor's residence at the end of the 8th century and was used until the 11th century. The yĹ?den was rebuilt in this location in 1790 CE, on a smaller scale than the original building but preserving the original structure.

The Kogosho ( 垥所) is a place where the Emperor received bannermen under the direct control of the Tokugawa shogun (buke). It was also used for some rituals. This distinctive building shows a blend of architectural elements of shinden zukuri and shoin zukuri styles. The Kogosho Conference was held here on the night of December 9, 1867, the declaration of the restoration of imperial rule (osei fukko). The structure burnt down in 1954 and was reconstructed in 1958.

The study hall Ogakumonjo (垥 所) was for reading rites, a monthly poetry recital and also a place the Emperor received nobles. It is a shoin zukuri style building with an irimoya hiwadabuki roof.

The Otsunegoten (垥 垥 ) was used as the Emperor's residence until the capital was transferred to Tokyo in 1869. It is the largest structure of the palace with fifteen rooms.

Facing it is the Gonaeitei garden.

KEN IWATA MOTHER AND CHILD MUSEUM Omishima

studiereis Japan 2019

TOYO ITO

Ken Iwata Mother and Child Museum, Toyo Ito – Omishima, 2011

Ken Iwata Mother And Child Museum The Ken Iwata Mother and Child Museum is a semi-open museum designed to house 44 pieces of sculptures created by the sculptor Ken Iwata.

The museum is located on Omishima, a small island within the Seta Inland Sea, rich in nature and culture, blessed with magnificent orange groves, and an Ohyamazumi Shrine that is said to have been built circa 1500 years ago.

The site is at the south western edge of the island, within the schoolyard of a former elementary school. Collaborating closely with Gallery Hasegawa in Tokyo and the Imabari City, the museum was planned next to the wooden school building as Mr. Iwata was once an elementary school teacher.

As most of the artworks are made of bronze and do not require indoor conditions, we attempted to design only the landscape as our first concept. After various studies our proposal developed into a museum simply wrapped around by a concrete wall in form of circular arcs – similar to temporary curtains hung during special events in Japan. – Toyo Ito L-shaped concrete walls with slightly projecting eaves are arranged in a circular pattern that is slightly offset from each other, creating a large enclosure approximately 30 meters in diameter. The openings of 1-2m in width created from the offset walls allow people and light to pass through, while inducing a moderate movement through the exhibition space.

The sculptures being installed in various heights and directions are placed in front of the painted white walls on green grass within the central courtyard. Visitors are able to appreciate the artworks backed by sceneries of blue sky, mountains and tiled roofs according to their viewing positions.

The curved walls acting like a giant ear collect sounds of birds and waves while amplifying them throughout the museum. Concrete benches are placed on the green courtyard and along the corridors, where the visitors can freely enjoy the museum visually and acoustically.

By overlapping nature, architecture and people with the works of a sculptor, the sculpture museum became a world with depth. We hope that this museum will be a place where the visitors can attain the same sense of serenity that Mr. Iwata has put into his works of ‘Mother and Child. – Toyo Ito

KOSHINO HOUSE Ashiya

studiereis Japan 2019

TADAO ANDO

Koshino house 1984, Ashiya | Tadoa Ando

Figure 1 – exterior space and exterior stairs (

Kazunori Fujimoto)

The Koshino house of Tadao Ando is located in Ashiya – a smaller village between Kobe and Osaka – in a national park, near the Okuyama water reservoir of Ashiya (Hyogo). This project was designed for fashion designer Hiroko Koshino and initially consisted out of two parallel concrete volumes (with different heights), positioned in the sloped landscape of the national park.

These volumes were constructed during 1979-1981. In 1983-1984, an atelier was added on the north side of the building.

The building is positioned in such a fashion that it doesn’t interrupt the trees which already stood there and it blends in with the existing ecosystem. Light has an important role in this project, as it is quite often in the projects of Tadao Ando in general.

Figure 2 – Conceptual sketch1

1

Jodidio, P. (2013). Tadao Ando: Houses, 52-61.

n a site located in the slopes o a erdant mountain in shi a ogo re ecture this is a residence or ashion designer iroko Koshino i en the rich natural en ironment o this site and a program ith a high degree o reedom thought o li ing spaces characterized light and the theme o place in contemporar architecture o much expression can e achie ed in architecture ith a composition o limited materials and elements his as a task in hich disco ered things linked to ne de elopmets in m architecture 2 Figure

– entrance (

Kazunori Fujimoto)

-

adao ndo

The initial building was constructed during the period 1979 – 1981. The northern volume contains a double high living room, a kitchen and dining room on the ground level as well as a bedroom end a working space on the first floor. The southern volume has six identical chambers, a bathroom and a lobby. oth volumes are connected through a corridor underneath the central outer staircase.

Figure

2 3

– opograph imager

Ando, T. (2010). Tadao Ando | 0 – Process and Idea, 58-65.

Art tation: lorian erg. (n.d.). etrieved ebruary 5, 2019, from https: www.artstation.com artwork d n2w

Figure

4

– lans

Jeremy avid orton esign: Koshino House – Tadao Ando. (n.d.). http: www.jeremydmorton.com koshino-house

etrieved

ebruary 5, 2019, from

On the north side, an additional volume was added during 1983 - 1984. It breaks with the initial strictness of the concrete boxes due to its curved shape, enclosing an atelier space. The grass from the outer space connects all volumes.

Figure

–

er ie

Figure –

5

odel ( design oom)

Jodidio, P. (2013). Tadao Ando: Houses, 52-61. esignboom: Tadao ando s endeavors exhibition at the national art center, tokyo. (n.d.). etrieved ebruary 7, 2019, from https: www.designboom.com architecture tadao-ando-endeavors-exhibition-national-art-center-tokyo-japan-10-08-2017

6

Figure

– xterior stairs ( uke Cl nes )

The central exterior stairs accentuate the topography of the surrounding landscape and it provides access to an exterior space which is enclosed by the built volumes.

Figure

7

– nterior (

Kazunori Fujimoto)

Jodidio, P. (2013). Tadao Ando: Houses, 52-61.

Figure

– Corridor next to the outer staircase (

Kazunori Fujimoto)

Figure

– telier space (

Kazunori Fujimoto)

The windows next to the outer staircase reflect the outer topography into the inner spaces. It gives the spaces a specific character, characteri ed by light and shadows. The light is like an ornament.

Figure

8

– Conceptual schemes

Ando, T. (2010). Tadao Ando | 0 – Process and Idea, 58-65.

KYOTO DESIGN HOUSE Kyoto

studiereis Japan 2019

TADAO ANDO

TADAO ANDO KYOTO DESIGN HOUSE – NIWAKA BUILDING

The NIWAKA building, designed

by Japanese Architecture Icon, Mr. Tadao Ando, opened in the year 2009. The NIWAKA Kyoto Flagship Store and the Head state-of-the-art building.In the DESIGN HOUSE, a gift store based on Kyoto's traditional crafts and art.

The NIWAKA Building brilliantly blends the historic urban architecture, incorporating

innovative

of the ancient capital’s aesthetic.

The Kyoto Flagship Store, located inside the NIWAKA Headquarters, features a subdued interior design that incorporates traditional architectural elements found in machiya style homes, such as koshi lattices and reed screens. a chic and

LEE UFAN MUSEUM Naoshima

studiereis Japan 2019

TADAO ANDO

Lee Ufan museum Tadao Ando

Located in a gentle valley surrounded by hills and the ocean, the architecture designed by Tadao Ando to conform to the landform and the pole created by Lee in front of the entrance create a tension between the horizontal and the vertical. The floor plan with rectangular and triangular spaces are ranged across this valley which leads to the sea brings a rhythm to the architecture.

The museum was set into a gentle slope in order to allow it to merge with the natural landscape and to melt into the scenery. The building is composed from three rectangular rooms built into the ground, a closed triangular forecourt, and an approach path lined with parallel walls. Visitors enter the building by weaving around these walls that form the only elevation of the museum.

The entrance to the exhibition spaces are reached only after temporarily entering the ground and reemerging within the triangular forecourt that frames the sky above. The three subterranean art spaces are attributed with different qualities of materiality, light, and scale in response to the artwork exhibited in each of the rooms. The details of the spaces were designed according to the preferences of the artist.

LES ARCHIVES DU COEUR Teshima

studiereis Japan 2019

CHRISTIAN BOLTANSKI

Les Archives du Coeur – Christian Boltanski Teshima island Christian Boltanski is the critically acclaimed French artist whose primary purpose in art has been to remind us of our own mortality. The 65-year-old veteran has been exhibiting since the 70s and his current project, Les Archives du Coeur (The Heart Archives), has travelled around the world for more than five years, receiving contributions from the public and celebrities alike.

Christian Boltanski has decided to preserve the heartbeats of over 35,000 people (at the last count) throughout the world in his project The Heart Archives. He has been recording these heartbeats since 2008. . Les Archives du CĹ“ur is a testament to the fact of the recorded existence.

Plan: Les Archives du Coeur

Now the archives are stored on an island just off the coast of Japan. The site in Japan will be a long term installation: The building is like a small museum, with exterior walls of charred cedar, a tradition aesthetic in the area. Les Archives du CĹ“ur is divided into rooms the Heart Room, which houses an installation; a recording room; and, a listening room.

The Heart Room is the main room of the installation. It is a dark room, with mirrors on the walls, and one bare lightbulb. In there the sound of one heartbeat is played at a greatly amplified volume, and the light bulb flickers along with the heartbeat.

In the recording room are two sound recording studios where visitors may record their heartbeats together with a personal message for archival as part of the work. The resulting audio file is then added to Boltanski s co ection.

In the listening room visitors can search for recordings using a computer database.

If you go to the island in a few years and you want to hear the heartbeat of your mother, you are not going to feel the presence, but the abscence of your mother. Each time you try to preserve something in fact you see more the abscence than the presence in the way you look at a photo you always see the abscence not the resence.

Boltanski is fascinated by the singularity of human experiences and the ephemerality of human life. am interested in hat ca itt e memor o tans i e ains. An emotiona memory, an everyday knowledge, the contrary of the Memory with a capital M that is preserved in history books. This little memory, which for me is what makes us unique, is extremely fragile, and it disappears with death. This loss of identity, this equalisation in forgetting, is very difficult to accept. The island is going to be the island of death and in the end the piece is not about life, but about death.

Interview with Christian Boltanski a ed i ita hat s the ins iration ehind Les Archives du Coeur?

Christian Boltanski: The idea came about six or seven years ago. You always try to capture people you love with photos: you know, you take a photograph of them to keep as a memoir?

The recording of the heartbeats are like photographs: they capture a part of someone. Two or three years ago, I was asked by Mr Fukutake of Benesse Art to visit this island in Japan. I was inspired to make a library of heartbeats because it was so beautiful. It was very quiet and isolated, and you could hear the heartbeats of the person you love in a very quiet way.

DD: So are the heartbeats constantly playing on this island?

Christian Boltanski: There are two parts: one is like an office and you can record your own heart if you want to. The other is like a corridor where you can listen to your own recordings, and you can hear the heartbeats of other people.

DD: Who was first person to have their heartbeat recorded for the archive?

Christian Boltanski: I think it was a Swedish man. The first time I did it was in Stockholm. A man ca ed me and said ove m do so much ease can ou ut his heart in the i rar o have around six thousand Swedish heartbeats and one Swedish dog.

DD: What does the future hold for this project?

Christian Boltanski: It will just travel all over the world. It has been to Korea, Sweden and London, and it's going to Finland next. The heartbeats will just be stored together in a big computer in Naoshima. After a few years, when you go to Naoshima you will find that the heartbeats all belong to dead people. Naoshima will become the island of death in fact. The idea of the piece is that it's impossible to preserve something: you can record the heartbeat of somebody, but you can't stop them dying.

DD: Are you planning to destroy the archives when it's completed?

Christian Boltanski: No, this will be a permanent piece of work and it will be ongoing.

DD: Have you given any thoughts to your final project and your legacy?

Christian Boltanski: I think this project will be my last, because it will not finish until I'm dead.

MEISO-NO-MORI FUNERAL HALL Kakamigahara

studiereis Japan 2019

TOYO ITO

Meiso no mori Funeral Hall, Toyo Ito

The roof of the “Meiso no mori” (forest of meditation) crematorium seems to float above the ground with a quality of lightness not necessarily associated with reinforced concrete. Built in the park-like cemetery at Kakamigahara, a town of 150,000 inhabitants in the prefecture of Gifu, the building nestles between wooded hills on the south and a small artificial lake on the north side. As the old crematorium on this site was to be demolished, Toyo Ito was free to realise his idea of a funeral hall not constrained by religious content.

The architect wanted to create a place for quiet reflection, a space whose organic language of forms would suggest a closeness to nature. The 20 cm thin roof, made up of concave and convex forms, flows into twelve tapered columns; its weight is also borne on the two-storey core.

Randomly placed between the columns and the core are marble-clad, introverted cuboid volumes in which all the rituals of parting are performed, including the cremation of the body.

The shape of the roof is the result of a long collaboration between the architect and the structural engineer Mutsuro Sasaki.

The idea started with a simple design, drawn up on the basis of intuition and experience; the spatial coordinates were then digitalised and subjected to structural analysis by computer. The forces at play internally had to be minimised and a sufficient slope created down to the drainage points at the tops of the columns.

Hundreds of further calculations were performed before a computer model emerged of the optimum shape; neither architects nor structural engineers had anticipated the result in quite this way. The digitalised data were used in the prefabrication of the curved formwork sections and the column shapes in the workshops. Erecting the formwork on site was a difficult challenge, because very little deviation was permitted from the calculated coordinates. The job of pouring the concrete was also tricky, as only with great precision was it possible to generate an even roof thickness with the rapid-hardening concrete that was used. (©DETAIL 01.07.2008)

MINAMI-DERA ART HOUSE Naoshima

studiereis Japan 2019

TADAO ANDO

Minami-dera Art House – Naoshima Architect: Tadao Ando Artist: James Turrell

“Backside of the Moon is to be experienced, not seen.”

Minamidera is a new building, and it was designed by Tadao Ando to accommodate the size of the works of James Turrell. The vicinity was once home to five temples and shrines, as well as the ruins of a castle, making it the center of history and culture in Naoshima. The name Minamidera (literally "southern temple") seeks to preserve the idea that the temples which once stood here were an emotional support for the people.

Ervaring van een bezoeker:

“Interestingly, an artwork part of Setouchi Triennale in Naoshima, gave me a great insight on a similar scale. The project titled 'Backside of the Moon' was a collaboration between James Turrell and Tadao Ando in 1999. At the start of the tour, we were informed that it was going to be really dark inside the Minamidera artspace and we had to stick out our hands to feel the walls as we go. It was pitch dark when we entered, which led to me occasional bumping into the dude in front of me and the grazing of hands (totally unintentional of course ahem). We sat in the darkness for five minutes.

I opened and closed my eyes to feel the difference, and contemplated about whether it is better to have a faint glimpse of what is next before deciding that it is better to not know at all. I soon got comfortable with the darkness surrounding me.

So did the others around me as I began to hear people loosening their joints (and half expected someone to fart). This could be the closest thing to being invisible and it was a real nice feeling.

Slowly, a white screen came to view and we were instructed to walk towards it and feel it, which I thought it was weird since I was in for a film screening. As everyone awkwardly ambled towards it, it was funny to see grown ups walking like toddlers. With hands outstretched, I touched a wall of cloud. It was such an amazing experience that no amount of exclamation marks I put to the end of this sentence would do it justice. If I was tall enough, I would have climbed over the wall and disappeared into oblivion.

It was then I realized, that the wall of light has always been there all along. The lighting has not been changed, but it was the eyes adjusting to the equilibrium of the light and darkness existing in the space. I understood with more clarity now – when you first step into the darkness from a very bright place, you are unable to see anything else but the darkness that surrounds you. But even in total darkness, there is always light – if you choose to see it. “

Bronnen: o Benesse Art Site Naoshima. Art House Project: Minamidera. Geraadpleegd op 16/02/2019, http://benesse-artsite.jp/en/art/arthouse.html o Hung, Drawn & Quartered.

ST (2015). Geraadpleegd op 16/02/2019,

S

SI

T

N

https://hungdrawnandquartered.wordpress.com/2015/01/11/james-turrellsbackside-of-the-moon/ o Ong Seow Fen A. Cross Your Fingers. Backside of the moon. Geraadpleegd op 16/02/2019, http://www.xyourfingers.com/blog/2013/4/30/backside-of-the-moon

MINNA NO MORI GIFU MEDIA COSMOS Gifu

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TOYO ITO

Minna No Mori Gifu Media Cosmos – Toyo Ito

MIYANOURA PORT BUIDING Naoshima

studiereis Japan 2019

SANAA

Miyanoura Port Building (2006) – SANAA (Naoshima)

WHEN A PIECE OF CLOTH INSPIRES ARCHITECTURE | SHIKOKU A furoshiki is a kind of large handkerchief. In fact, the word means “bath spread”. Already during the Nara period 1,200 years ago, the people of Japan would go to the public baths and wrap their clothes in a furoshiki before taking to the waters. Modern Japanese still use this piece of cloth as a carryall in everyday life. Or as a way of wrapping presents. Or a lunch box. Or even as inspiration for modern architecture.

“For me, the furoshiki is the epitome of Japanese functionality and aesthetics – and symbolic of the way we build,” says Ryue Nishizawa. In 2010 the 51-year-old and his 61-year-old partner Kazuyo Sejima were awarded the Pritzker Architecture Prize – essentially the Nobel Prize for architecture. To suggest that a simple piece of cloth may have inspired some of the most spectacular Japanese designs of recent decades may seem a little far-fetched. And yet far-fetched is just what we have come to expect from this design duo, who in 1995 together founded a company with a name that sounds like the capital of Yemen: SANAA, Sejima And Nishizawa And Associates, currently one of the most sought-after architecture firms in the world.

Teshima Art Museum by Ryue Nishizawa. Photo: © Roland Hagenberg

That they also left their marks on Shikoku – the smallest of Japan s four ma or islands – comes as no surprise. Nishizawa s Teshima Art Museum is a giant concrete shell in the shape of a water drop on the island of Teshima, whereas the Naoshima Ferry Terminal stands in stark contrast to the massi e concrete fortifications and tetrapod armor that protect Japan s harbors and shores. From afar its pillars resemble toothpicks, and the flat roof a sheet of paper that both look fragile in the face of a big storm, though of course they always survive. The successful couple creates buildings under three separate names, but only the projects they work on together are given the official SANAA seal – like the Naoshima Ferry Terminal.

Naoshima SANAA Ferry Terminal. Photo: Courtesy of SANAA

“A furoshiki is a bag that does away with handles, buttons, side pockets and zips,” Nishizawa e plains. “It s an ingeniously condensed, multifunctional ob ect. ut a furoshiki only takes on shape when the ends of the cloth are tied together. Our architecture is not dissimilar in the way it works. Although the walls and roof are important, the essence of our style of construction is in linkages, the ties that bind the li ing room to nature, for e ample, and to the world outside.” At the terminal, glass walls and mirrors allow nature to pass through freely. A concept, that Sejima had refined, after she left the practice of her mentor Toyo Ito to become independent. He too was drawn to hikoku s clouds, shores, and winds. erlooking the eto Inland ea the Toyo Ito Museum of Architecture, Imabari is a reminder that great architecture is not only confined to great cities.

NAOSHIMA HALL Naoshima

studiereis Japan 2019

SAMBUICHI ARCHITECTS

Naoshima Hall Naoshima | Sambuichi Architects 1

Figure 1 – Community centre (

Sambuichi architects)

This project is located in the old city of Honmura, Kagawa-prefecture, on Naoshima island. In the ideology of the Japanese architect Hiroshi Sambuichi, by him so-called ‘moving materials’ (i.e. sun, water and wind) are an important factor in Japanese architecture. These need to be combined with ‘nonmoving materials’ used in architecture: stone, wood, glass or metal. Thus, materials are of big importance. Another important aspect is the traditional way of living in Japan. Houses are exposed to fresh air and wind in summer, whilst spaces are enclosed during winter periods with screens. These concepts are incorporated in the design of the Naoshima Hall. The design symbolizes the many ‘streams’ of the island, and the connection with nature – which is very important in this region – as well.

“

This shape is a visualization of the flow of moving materials in Naoshima, and simultaneously produces a pressure differential that causes air to circulate in the hall.

-

Hiroshi Sambuichi

Figure 2 – Community centre: roof (

1

Lee Tan)

Additional information throughout the text: Hansen, P. M. Sambuichi Architects. In Architects. Retrieved February 9, 2019, from Arcspace.

McMaster, J. (Updated March 13, 2017). Naoshima Hall. In Project | Public/ leisure. Retrieved February 09, 2019, from Arcspace.

The Naoshima hall is a community centre with typical Japanese building techni ues. The rooftops are characteristic to this building. They consist out of cypress wood, locally nown as hino i. The first one is the most prominent one and it follows the slope of the existing natural environment. The roof has a triangular opening, that provides fresh air to circulate through the roof. It can be opened, so it draws air up from below. The second, smaller one is made out of hino i-wood as well and has a large rectangular s ylight.

“

structure that provides protection from rain while allowing breezes to gently pass through, it inherits the principles of the apanese traditional thatched roof.

-

Hiroshi Sambuichi

Figure – Community centre – oof with s ylight (community centre)t (

Sambuichi architects)

Figure

– Section mulripurpose hall (

Sambuichi architects)

The project provides about 1000 s uare metres and houses a main multipurpose hall, the actual community centre, as well as a a moss garden, which is bordered by a pond. In the multipurpose hall, a stage provides room for bunra u puppetry. The hall itself is embedded in the berm of the surroundings and it helps to regulate the seasonal interior temperature.

Figure

– Floor plan multipurpose hall (

Sambuichi architects)

Figure

– Community centre (left) and multipurpose hall (right) (

Figure

– nterior views multipurpose hall (

Sambuichi architects)

Sambuichi architects)

The community centre has several functions, such as: a itchen, two tatami rooms and a small bathroom.

The division between spaces is obtained by the use of handmade washi paper screens.

Figure

– Community centre (

Sambuichi architects)

Figure

– Floor plan community centre (

Sambuichi architects)

The interior of the building is finished with stucco, hino i-wood and earth floors. The tatami-rooms are finished with traditional tatami floors.

Figure 1

– nterior views community centre (

Sambuichi architects)

Figure 11 – nterior views community centre (tatami room) (

Sambuichi architects)

Figure 12 – uter pont (

Figure 1

Sambuichi architects)

– Community centre (

Sambuichi architects)

Figure 1 1 1

– Nocturnal views (

Sambuichi architects)

NAOSHIMA PAVILION Naoshima

studiereis Japan 2019

SOU FUJIMOTO

Sou Fujimoto's Polyhedral Pavilion Shapes The Art Island of Japan 16:00 - 10 September, 2017

by Fernanda Castro

Sou Fujimoto's Polyhedral Pavilion Shapes The Art Island of Japan

Š Fernanda Castro Located a few meters from the terminal of Naoshima, the Japanese island better known as the "Art Island", Sou Fujimoto's Pavilion appears as a translucent and lightweight diamond perched on the coastal edge of Kagawa, visible from SANAA's ferry terminal welcoming the visitors to the island.

The Naoshima Pavilion was part of the 2016 Setouchi Triennial. Fujimoto has created its structure with a white painted stainless steel framework, acting as a mesh that gives the polyhedron it's irregular shape and light appearance as if it was levitating from the ground.

Š Fernanda Castro

The structure has an interior height of 7 meters making it a habitable structure that encourages visitors to enter and experience this reticulated and delicate space that at the same time generates shadows and allows wind breezes to trespass it. Its irregular shape and the different slopes generated in its interior gives flexibility to the structure either in contemplative terms or as a resting place from the intense sun.

Š Fernanda Castro

Š Fernanda Castro

The pavilion is one of several architectural and artistic landmarks of the island of Naoshima which also features works by SANAA, Tadao Ando, Yayoi Kusama and James Turrell among others.

NATIONAL MUSEUM OF MODERN ART Kyoto

studiereis Japan 2019

FUMIHIKO MAKI

National Museum of Modern Art Kyoto

Architect: Fumihiko Maki Completion Date 1986 Structural System Steel, Reinforced Concrete Building Area 2,142m² Total Floor Area 9,983m²

The National Museum of Modern Art, Kyoto is located in the heart of historic Kyoto. As such, the appropriate expression of the 20th century's modern spirit with a sensitive context served as the most important design theme. The exterior design was kept modest because of its location in a scenic district. The interior provides for a variety of functions, including temporary and permanent exhibition spaces, storage, and an auditorium. A 1.5meter grid was used for the basic exterior module - representing horizontality and verticality, present and past, transparency and mass, and the duality of Japanese and Western influences.

The National Museum of Modern Art, Kyoto (MoMAK) was initially created as the Annex Museum of the National Museum of Modern Art in Tokyo. MoMAK was established on its present site on March 1, 1963. Its building, formerly the auxiliary building of the Kyoto Municipal Exhibition Hall for Industrial Affairs, was transferred from Kyoto City to the National Museum after restoration. On June 1, 1967, the Kyoto Annex Museum officially became the National Museum of Modern Art, Kyoto. Seventeen years later, the old building was dismantled and the present building, designed by Fumihiko Maki was completed.

The museum was opened to the public on October 26, 1986.

MoMAK is a national institution devoted to the collection and preservation of artworks and related reference materials of the twentieth century in Japan and other parts of the world.

Particular *emphasis is placed on artists or artistic movements in Kyoto and the Kansai area (the western region of Japan), such as Japanese-style paintings of the Kyoto School.

The gallery exhibits selected works of Japanese-style painting (nihonga), Western-style painting (yĹ?ga), prints, sculpture, crafts (ceramics, textiles, metalworks, wood and bamboo works, lacquers and jewelry) and photography from the museum collection, rotating the works on display approximately twenty times a year. Outstanding and monumental works of modern art in Japan, as well as modern and contemporary European and American art are also exhibited.

NEXT GENERATION HOUSE Kumamura

studiereis Japan 2019

SOU FUJIMOTO

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studiereis Japan 2019

NIJO KASTEEL Kyoto

N IJO C ASTLE , K YOTO

Bouwjaar: 1603 - 1626 Bouwheer: alle bouwheren uit Kyoto werden opgeroepen, landschapsarchitect: Kobori Enshū Opdrachtgever: Tokugawa Ieyasu (voltooid onder heerschappij van Tokugawa Iemitsu) Totale oppervlakte: 275.000 m2 UNESCO Werelderfgoed Het kasteel bestaat uit twee ringen van verdedigingswerken, beiden omgeven door een gracht. Er bevinden zich onder andere de ruïnes van het Honmaru-paleis, het Ninomaru-paleis, verschillende bijgebouwen en tuinen.

NIJŌ CASTLE - 二条城 Nijō castle dominates the center of Kyoto. Built in 1603 by Togukawa Ieyesu, the first Shogun of a united Japan, it served as his official audience hall. Intended to impress visitors, the showy castle is more palace than fortress, with defenses designed for looks rather than combat. The cautious Shogun knew that the most likely avenue of attack would be from treachery within, so he had hidden guards posted in the rooms and "nightingale" floors that squeak at the lightest pressure.

Regardless, the Shogun spent only a fraction of his time here, preferring to remain in the east where the real power centers were coalescing around Edo (Tokyo).

Nijō's floorplan derives from the copies of Heian-era mansions popular in the Muromachi period.

Built in the 'Shinden' style, these comprise a main hall, called a shinden, flanked by subsidiary halls.

South of the shinden is a large rectangular field that extends to the edge of a vast southern pond.

From either side of the shinden hall, covered corridors extend southward to islands in the pond, framing the field between them. It is thought that noblemen held audiences in the courtyard and partied on boats in the pond. The cloistered atmosphere of the shinden mansions resulted from the small parcels of land available in Heian-Kyo (Kyoto).

Further influences were derived from Muromachi-era manshions constructed from the 14th through 17th centuries. Instead of a single shinden hall, these mansions are staggered into a number of diagonally linked 'shoins' (bays) which increase in privacy the further one is from the entrance. Depth of penetration into the palace is associated with social rank. Highly formal, the interiors are paved with tatami mats and aglow with rich decoration. Since emphasis is placed on progression, gates and thresholds become important moments of ostentation in the otherwise stark layout.

The Ninomaru Palace, constructed within the Nijō compound in 1626 for an imperial visit by the Emperor Go-Mizunoo, is strikingly similar to the Murumachi-era Hosokawa mansion. Both share the same staggered layout that recedes to the northwest, among other aspects. Because the staggering tends to elongate the southwest facade, the pond garden is located differently at Nijō for a better view. South of the main entry (and west of the pond) is a field entered through a formal gate. This is a stylistic relic of the fields found in Heian-era shinden-style mansions.

Despite the glory of NijĹ?, it was used very rarely - three times for Ieyesu and twice for his successor, including the Imperial visit of Go-Mizunoo. When the Shoguns finally returned to Kyoto for visits at the close of the Togukawa era in the mid-1800s, the castle had lain empty for over twohundred years. Curiously, the final Shogun decided to live in the castle for a time (there were more comfortable places), until the Meiji restoration abolished the Shogunate in 1868. From 1868 to 1884 the castle served as the Kyoto prefectural office and was not treated well. In 1939 the city took control and has since restored the structure as best it could, despite the loss of numerous buildings and the five-story castle keep over the years.

Though the architecture is the star attraction, the pond garden should not be overlooked.

Designed by Korobi Enshu, the seminal figure in Japanese garden design, it remains a pleasant place.

Bron: Ahn A., Ciccone T, “Nijo Castle�, Asian Historical Architecture, 1998-2019. [Online.] Beschikbaar op: https://www.orientalarchitecture.com/sid/212/japan/kyoto/nijo-castle.

studiereis Japan 2019

NISHINA DENTAL CLINIC Kyoto SHIN TAKAMATSU

NISHINOYAMA HOUSE Kyoto

studiereis Japan 2019

KAZUYO SEJIMA

JAPANES E ARCHI TECTUR E, RES I DENTI AL

Nishinoyama House in Kyoto / Kazuyo Sejima FEBRUARY 12, 2016

© Iwan Bann

The Nishinoyama House designed by Japanese architect Kazuyo Sejima of SANAA is a residential complex located in a suburban area of Kyoto. The project is characterised by its unifying structure which holistically connects the ten properties (with21 individually pitched roofs), creating a series of internal gardens and alleyways.

Nishinoyama House technical information Architects: Kazuyo Sejima from SANAA | Profile of SANAA Location: Kyoto, Japan Typology : Residencial Projects / Private Residences Material : Steel Evocative topics: dispersion, Light Project Year: 2014 Photographs: © Iwan Bann / © Courtesy of SANAA Architects

“ The residents will be able to enjoy a lifestyle that is based not only on indoor space but outdoors as well. This will hopefully create an environment that allows for the development of natural and positive relationships between residents alongside the privacy that the separate units and gardens offer.

– SANAA Architects NISHINOYAMA HOUSE IN KY OTO AR TICL E F R OM THE AR CHITECTS

© Iwan Bann

© Courtesy of SANAA Architects

© Courtesy of SANAA Architects

© Courtesy of SANAA Architects

The Nishinoyama House is a ten-unit housing complex located in a quiet residential area in Omiya Nishinoyama, Kyoto.The complex is built on a gently sloping site directly adjacent to a large vegetable garden that lends it a free and expansive atmosphere. In the summer, the location also offers a distant view of the giant Daimonji bonfire on Nyoigatake to the east.

Characterizing the exterior of the building are twenty-one pitched roofs—each roughly the size of the neighboring single-family houses—that come together to form one large roof, looking not unlike a cluster of small traditional machiya houses.Each room is positioned out of alignment with these pitched roofs, creating almost as many small gardens and alleyways underneath the shared roof as there are rooms in the complex.

Housing units are scattered along the sloped site, covered by two to three pitched roofs per unit. Some units consist of a series of interconnected rooms that surround a garden, and others have detached rooms located across a garden. Each room also differs according to the direction and height of its roof, ranging from attic-like rooms with low ceilings and a down-to-earth atmosphere to rooms with lofts and high ceilings, filled with sunlight. All rooms have multiple sources for both light and air.

© Courtesy of SANAA Architects

© Courtesy of SANAA Architects

© Courtesy of SANAA Architects

© Courtesy of SANAA Architects

Š Courtesy of SANAA Architects

The many gardens on the grounds take on a multitude of different patterns—such as gardens along the street that are open to public use, covered gardens surrounded by a single housing unit that can be described as being semi-outdoors, and bright gardens with the open sky overhead that are accessed through narrow paths, from which private covered gardens can be glimpsed—creating a variety of places and landscapes throughout the entire complex.

By placing such rooms and gardens under the same roof, the residents will be able to enjoy a lifestyle that is based not only on indoor space but outdoors as well. This will hopefully create an environment that allows for the development of natural and positive relationships between residents alongside the privacy that the separate units and gardens offer. Ideally, this atmosphere will extend beyond the grounds of this complex and connect with its surroundings and beyond.

NISHINOYAMA HOUSE IN KY OTO P L AN

Bronnen: http://archeyes.com/nishinoyama-house-kazuyo-sejima/

studiereis Japan 2019

O MUSEUM Lida SANAA

( El Croquis 99 : Kazuyo Sejima, Ryue Nishizawa 1995-2000, 1/2000, pp. 128 - 141 )

OSAKA PREFECTURAL SAYAMAIKE MUSEUM Osaka

studiereis Japan 2019

TADAO ANDO

PIT HOUSE Tamano

studiereis Japan 2019

UID ARCHITECTS

Pit House, Tamano, UID Architects

Bouwjaar: Oktober 2011 Architect: UID Architects - Keisuke Maeda Totale vloeroppervlakte: 116 m2 (oppervlakte site: 232 m2) Materialen: -

stalen structuur cedarhout, kersenhout, MDF en beton

PIT HOUSE By digging into the terraced building site, architect Keisuke Maeda of UID created a living area that is protected from the elements yet strongly connected to the land. His “House on the Surface of the Earth” is not a preconceived structure simply set on the ground, but rather a design guided towards its inevitable end point by the client’s requests and the context of the site. Below, Maeda talks about the project.

Tell us about the basic concept for the project.

The relationship between the natural environment of the site and the structure built on it is defined by the fact that both exist simultaneously. Rather than connecting the two simply by opening a window in a wall, I thought about how to create a structure that exists as one landscape element within the indivisible whole of the environment.

The design allows the residents to take in a 360-degree view of the elevated property, the walls and fences of the neighboring houses that encircle it, the other residences spread out along the hillside, and the distant mountains, all as they go about their daily activities. The interior functions as an extension of the outside, not as a space cut off from the land by walls. My guiding architectural concept was of a dugout-like dwelling linked indivisibly to the earth.

About 50 delicate branch-like poles both suspend the upper box and connect it to the ground.

How did you end up taking on the commission?

The client contacted us after seeing houses we’d designed in magazines and online.

Exterior and interior are linked through the gap below the floating upper story, resulting in an ambiguous space.

Was the house that was actually built different in any way from your design? How did you resolve any problems that arose during the process?

In order to play up the ambiguous sense of distance created by a round shape, which tends to eliminate the feeling of being closed in, we reduced the actual size of the home to the bare minimum. To keep costs down and make the best use of the space, we left the one-meter-high underground foundation supports exposed and incorporated them as an element of the interior.

Making these small circular slabs required special precisely-constructed concrete formwork, which we developed through consultation with the building contractor. We also worked with a plywood factory to develop an experimental curved 6mm structural plywood that we used as a finishing material in the central section of the house. Our back-and-forth with the contractor and factory allowed us to achieve a high level of precision and expression that in turn was the key to creating a sense of continuity between the exterior and interior spaces.

Terrace leading to the entrance.

How is this project different from or similar to your past work?

As in the past, our careful investigation of the site characteristics resulted in a natural relationship between the building and the site environment.

What’s most important to you when you are designing a structure?

I value my intuition. Architecture is about creating an environment in a certain place, and that’s not something you can do just by drawing up a blueprint. The blueprint serves as my basic guide, but I also stay aware of the unique characteristics of the place and value the intuitive decisions I make as I work, because those decisions are what ultimately lead to the creation of a comfortable environment. What I mean by “intuitive decisions,” for instance, are the on-site adjustments to shape and dimensions that I might make to a nursery school approach as I imagine the various scenes that will take place there: the children and teachers and pregnant women who will use it, the people pushing baby carriages or carrying children, the parents walking along holding hands with their child, the caretakers coming to pick up and drop off kids. What I’m aiming for is not to maximize the convenience and functionality of the space, but rather to create an environment that fills people with a sense of wellbeing and comfort in the casual, everyday moments of their life.

Bron: Yuna Yagi, “Pit House”, Worlds-Architects, 2012. [Online]. Beschikbaar op: https://www.worldarchitects.com/en/architecture-news/reviews/pit-house.

PROSTHO MUSEUM RESEARCH CENTER Aichi

studiereis Japan 2019

KENGO KUMA

Prostho Museum Research Center Architect: Kengo Kuma Locatie: Nagoya, Aichi, Japan

Bouwjaar: 2010 Opp: 421 m²

Het Prostho Museum bevat een departement dat onderzoek doet naar tandprotheses met in de publieke ruimte een tentoonstelling van tandheelkunde.

Aan de voorkant van het gebouw zijn de ruimtes uitgehouwen uit een Cidorigeïnspireerd systeem.

Achteraan is meer standaard architectuur toegepast met beton en glas.

Het Cidori systeem komt van een traditioneel Japans speelgoed van houten blokken die in elkaar passen zonder het gebruik van nagels of schroeven. In dit geval wordt het gebruikt om het begrip van de bebouwde omgeving uit te dagen en zo het architecturaal object niet als centrum van het ontwerp te zien door geen letterlijke grens van het gebouw te hebben maar een soort van fluïde overgang Om dit gebouw te realiseren heeft Kengo samengewerkt met Jun Sato (Stabiliteitsingenieur) en meerdere ambachtslieden uit Takayama (oorsprong van de Cidori) om zonder lijmen of andere bevestigingsmiddelen met 6000 Cipres balkjes deze 9m hoge structuur te verwezenlijken.

Het houten latwerk dient op deze manier als meer dan alleen een esthetische oplossing en werkt als ondersteunende structuur. Kengo wilt hiermee zijn afkeer van moderne gebouwen met een ‘kosmetische huid’ uitdrukken, die enkel aan de gevel bevestigd wordt en geen verdere functie dient. (cfr. Kengo Kuma – ‘anti-object’)

De ingang van het museum is amper herkenbaar afgezien van het pad dat ernaar toe leidt. Bezoekers wandelen een dunne gang door vooraleer ze het gebouw betreden langs de achterkant. Binnenin is de tentoonstellingsruimte organisch uitgehouwen uit het latwerk, strekt zich uit over alle verdiepen en druppelt zelfs de kelder binnen. Het latwerk zorgt voor een gevoel van scheiding met buiten alsof er een soort bos tussen beiden bestaan. Dit ‘bos’ zorgt ook voor een variabele beleving van de ruimte door hun schaduwspel. Om het verschil tussen binnen en buiten toch een beetje te benadrukken zijn de latten die buiten staan lichter geschilderd dan de binnenste latten.

ROKKO HOUSING I, II, III + IV Kobe

studiereis Japan 2019

TADAO ANDO

zaterdag 2 maart 2019

Tadao Ando - Rokko Housing I, II, III + IV The sets of houses I, II and III are located in neighboring plots to each other, on Mount Rokko, on the slopes of the city of Kobe. The houses are built on the hill, following the slope.

The first set is at the foot of the mountain, built on a hillside facing South where you can enjoy a great panoramic view of the port of Kobe and Osaka Bay. Rokko II complex is located on a site above and to the left of the first set, being four times higher.

For the third is three times larger than the second. Rokko III is built over the previous two.

The houses were built with strong relationships between public and private spaces, through the concept of public traffic and terraces, where the residents. In turn, each household seeks to reaffirm its own individuality, different spaces, terraces, views, and relationships between them. Through aterrazado, Ando achieves a grand opening in each home without sacrificing your privacy.

With the intention of creating and strengthening the relationship between nature, public and private spaces, using a network system to control the overall structure. It is a rigid framework in which all the houses, terraces and large spaces are included.

In Rokko III introduces another element: prefabrication, not as a means of reducing costs but in relation to social thought.

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ROOF AND MUSHROOM PAVILION Kyoto

studiereis Japan 2019

RUYE NISHIZAMA + NENDO

S ART HOUSE Inujima

studiereis Japan 2019

KAZUYO SEJIMA

SETONOMORI HOUSES Seto Inland Sea

studiereis Japan 2019

SOU FUJIMOTO

SOU FUJIMOTO SETONOMORI HOUSES The project is a housing complex of 26 units, located between the mountains near the Seto lnland Sea. The site is on a sloping terrain where traces of the old tiered platforms still remain. When I visited the site, I felt a strong impression of the local scenery, a landscape of houses scattered in front of the mountain range.

I also found the steps and the steep paths that run between these houses very attractive. Taking all of this into account, I plan to build a "new scenery" which will become a link into the future.

To match the scale of the local houses nearby, each building will have 2 units built into one, and the project will include 13 of these simple gable-roofed buildings.

The layout takes the entire landscape into consideration, including the relationships between landform and access points, as well as the view and the paths. Over 100 trees are planted between the buildings so that the project does not obstruct the mountainous landscape in the background. The trees also act as a privacy between in each unit.

Paths, stairs, handrails, outdoors storages, trees, washing line poles and mechanical units are scattered around the houses in disorder. Instead of isolating these symbolic, gable-roofed residential buildings, try to create a taste of "living environment" where a various things to scattered in diverse ways. Intention is to furniture, bicycles, and everything related to the residentiary's life.

The facade is a corrugated stainless surrounding nature and building integrate well into the scenery with unique presence. The building wear a different looks in every hour, pattern resembles the colourless sky, suggestive of something more an architecture. Our hope for the the time in the changing expressions of these houses. These scenes will remain with the people and we are sure they will carry on those memories tor future generation.

SHIBA RYTARO MEMORIAL MUSEUM Osaka

studiereis Japan 2019

TADAO ANDO

Shiba Ryotaro Memorial Museum Locatie: Osaka, Japan Architect: Tadao Ando Bouwjaar: 2001 Bron: Jodidio, P. (2007). Ando: Complete works. Kรถln: Taschen.

As these floor plans show, the space of the museum actually dilates as the visitor moves down toward the bottom of the walls of books and the auditorium. The uppermost level is quite small.

Despite its relatively small size, the space creates a grandiose impression from many different angles.

Curves play against straight lines and wood against concrete.

The drawings show the relationship of the new structure to the entire lot and the existing dwellings.

This sketch by the architect shows the intimate relationship of the design to the greenery on the site.

The entrance walkway, where the outside gives way progressively to the internal space.

Seen from the street, the curving exterior arc of the museum’s entrance area leaves this quiet residential area undisturbed.

SHIMOSUWA MANICIPAL MUSEUM Shimosuwa

studiereis Japan 2019

TOYO ITO

TADAO ANDO MUSEUM Naoshima

studiereis Japan 2019

TADAO ANDO

The Ando Museum looks like a regular, traditional residence from the outside, blending in perfectly into the town's neighborhood. The inside of the building, however, combines traditional interior design with Ando's signature use of concrete, creating a rather intriguing atmosphere. Explanatory signs and photographs along the walls document Ando's activities on Naoshima and elsewhere.

Ando Museum is located in the historic town of Honmura, Naoshima. During the past thirty years, the island of Naoshima in the Seto Inland Sea of Japan has become an art and architecture destination for visitors from around the world. Over the decades, this quiet island, together with neighbouring islands, Teshima and Inujima, has been transformed by new museums, architecture, and art installations by renowned international artists and Japanese architects to celebrate the beauty of art and nature.

Atmospheric light celebrates the qualities and moods of light to a particular location. This brief case study of ‘Ando Museum’ from The Art of Architectural Daylighting, explains how architect Tadao manipulates light for the desired atmospheric effect.

Mary Guzowski’s fascinating new book – The Art of Architectural Daylighting – reveals how architects have bridged the poetic and practical potential of daylighting to create exquisitely illuminated spaces. (https://www.laurenceking.com/blog/2018/07/09/atmospheric-light/)

Honmura, Naoshima Tadao Ando

Ando Museum

A geometric clarity and spatial order underlie the organisation of the museum. While Ando is renowned for his exquisite craftsmanship, quality of construction, and refined detailing; he describes his work as a focus on space that is “born of light and geometry”.

Tadao Ando describes the underlying theme of “invisibility” in the Ando Musueum, where the traditional house is a vessel that contains his contemporary interventions of space, structure, materials, and light.

The elements of surprise and discovery are essential to the visitor’s experience of the Ando Museum. It is not until the visitor is deep inside the museum that the new interventions are fully revealed with a dramatic contrast of space and light defined by concrete surfaces and volumes tucked within the traditional timber-frame house.

Light and Design Intentions:

Ando explains that he sees light as an expression of nature that helps us understand our place within a greater whole.

Visitors move from the historic streetscape through an entry and into the traditional house to discover a sequence of daylit galleries that culminate in a quiet underground meditation chamber. The small scale and intimate qualities of the site heighten the juxtaposition of the old and new, with spaces progressively transforming from traditional to contemporary in the experience of space, structure, and light. With the exception of the entry area, the Ando Museum relies exclusively on natural light for illumination, with the galleries and meditation chamber brought to life through the changing moods, colours, and movements of daylight.

Location:

Each gallery has a unique luminous quality, with a calm diffuse light in the northern gallery punctuated by abundant illumination in the toplit central gallery, which is contrasted by the quiet shadows and darkness of the southern gallery.

In the journey from the street into the galleries and underground meditation chamber, visitors transition from connections with the outside neighbourhood to progressively more inwardly focused contemplative spaces. The first view into the museum frames a dramatic vertical space created by the traditional plaster wall to the north and a canted concrete wall to the south. A sequence of three gallery spaces is defined, from the north to south, by sloping and freestanding concrete walls and volumes tucked beneath the traditional timber-frame construction. Daylight is reflected between room and ceiling surfaces to spill over the freestanding concrete walls and through low horizontal slots to adjacent galleries.

Light and Design Strategies:

The site is divided into four quadrants, with the entry and garden in the southeast, museum entrance in the northeast, main galleries occupying the west half of the site, and the underground meditation chamber beneath the garden. In section, the museum reveals a sequence of nested spaces, with the concrete surfaces and volumes of the new galleries tucked within the traditional timber-frame house. Visitors move through a choreography of spaces that transform from outside to inside, old to new, above to below, and from light to darkness.

The meditation chamber is constructed of a concrete cylinder with canted walls that are illuminated indirectly through the conical skylight.

Beneath the skylight floats a steel ceiling with a thin gap along the perimeter to block direct views of the sky and to reveal the walls and volume of space in reflected light and gradated shadow.

The meditation chamber (image above), accessed through a stairway in the central gallery, is the most intimate, contained, and introspective experience of the journey, as Ando explains: “A slightly tilted concrete cylinder ‌ is buried in the ground as an independent element set apart from the existent building. It contains a space for meditation that is composed solely from the texture of the light that falls into it from above.â€?

The beauty of both light and shadow are found in the changing atmospheric qualities of the Ando Museum. Depending on the season and sky conditions, the light varies dramatically from a soft, subdued, indirect, and diffuse illumination of overcast skies to dynamic patterns of sunlight animating space and surfaces on a sunny day. Gentle indirect light emanating through frosted glass windows and surface reflections is contrasted with direct daylight or sunlight from skylights, vertical slots, and triangular windows. Contrasting qualities of indirect and direct light engage and enliven the warmth of the traditional timber ceiling and post-and-beam structure as well as revealing the beauty and craft of the smooth surfaces of the contemporary concrete walls and volumes.

Ando is as fascinated with darkness and shadow as he is with light, as he explains: “You are able to see the light because of the darkness.

Because of the darkness you felt the strong presence of light. Shadows and darkness contribute to serenity and calmness. In my opinion, the darkness creates the opportunity to think and contemplate.”

Such is the case at the Ando Museum, where varied window forms, daylight strategies, and choreographed views create an experience of changing atmospheric qualities and patterns of light that can be considered an exhibition in its own right.

In Michael Blackwood’s documentary film on his early work, Ando describes the activity of “light watching,” in which the movement of light and shadow is the focus of space: “If one lets light into architecture in many different and subtle ways one can enjoy light watching.”

Ando translates the exquisite craft of traditional Japanese architecture into his contemporary use of concrete, glass, and steel. Renowned for the fine finish and silky quality of concrete in his buildings, Ando’s exacting attention to detail, collaboration with skilled carpenters, and use of quality formwork have enabled him to imbue concrete with the subtle qualities of traditional materials. As he explained in an interview with Michael Blackwood: “My attitude towards concrete is to look for a kind of concrete that is closer in feeling to wood and paper.

To find a beautiful and sensuous concrete.”

Views to the outside and within the museum are carefully controlled, with an increased sense of separation from the site as spaces progress from the garden into the entry, galleries, and subterranean meditation space.

The only direct view to the garden is provided at the entry door, while discreet views of the sky are found in the central and south galleries.

Translucent windows and indirect and reflected daylight foster a sense of mystery within a quiet, contemplative atmosphere. The sequence of spaces is organised along a circulation path with ninety-degree turns that create views to alternating cardinal directions, while the partial walls and interior apertures provide glimpses to and beyond adjacent spaces.

Strategic interior views create spatial depth and interconnections between galleries that are animated by differing qualities of light and shadow.

Ando’s interests lie in translating the best qualities and values of think that Japanese contemporary “I traditional architecture: architecture has not incorporated the good qualities of traditional Japanese culture. … I’m not talking about external things, such as form or material, but a way of thinking. What interests me most is to find a way to continue these traditional Japanese concepts and values and thereby pass them on to the next generation.”

Light and the Art of Making:

Light and View:

The Ando Museum is brought to life by light and the juxtaposition of atmospheric and spatial qualities. Ando uses the elements of structure, materials, and spatial composition to choreograph a luminous journey of discovery from the outer physical world to an inner contemplative space.

While the Ando Museum embodies a clarity and simplicity of form, structure, and materials, these tangible architectural elements are used to create a dynamic spatial and visual experience and to express the beauty of light and nature.

Although the site and the Ando Museum are small in scale, Ando skilfully choreographs a rich conversation between the spatial, material, and luminous qualities of the old and new. Ando’s focus is on creating meaningful experiences, in which architecture is not an object, but rather a means of defining space. In an interview with Edan Corkill for the Japan Times, Ando explains his focus on space-making: “I think Japan’s contribution has been the idea that architecture is not a ‘thing’—it’s not a solid object. It’s like Kakuzo Okakura wrote in his ‘Book of Tea’ in 1906: Architecture is never a shape, it is the space enclosed by the shape, by the walls and ceiling.”

Light Inspirations:

20 Spatial, material, and luminous contrast are further fostered by the separation between the timber-frame and plaster walls of the minka and the freestanding concrete structure. The exceptional craft and material qualities of each construction tradition are independently expressed, yet remain within an intimate spatial relationship.

At the Ando Museum, the juxtaposition of traditional timber frame and contemporary concrete construction heighten the beauty of both the old and new, as Ando explains: “My aim was to create a space that has a rich sense of depth despite its small size, where oppositional elements such as the past and present, wood and concrete, and light and dark . clash intensely as they are superimposed against each other.”

TADAO ANDO AFFICE Osaka

studiereis Japan 2019

TADAO ANDO

Inside the concrete atelier of Japanese architect Tadao Ando

The Osaka atelier of Pritzker Prize-winning architect Tadao Ando is a masterclass in concrete, with a five-storey atrium at its core. Port Magazine visited this extraordinary space for its fifth anniversary issue, an excerpt of which is published here…

Tadao Ando originally designed the building that houses his studio in Osaka in 1973 as a home for a young family. As it neared completion, the clients discovered they were expecting twins and the architect realised it would be too small for their needs, so kept it for his own use. ‘I learnt from this experience that life does not always go according to plan,’ says Ando, who has described the remarkable evolution of his own career as a process of ‘trial and error’.

The studio, which was extended three times and finally rebuilt in 1991 to accommodate Ando’s expanding team, serves as a case study for several key principles that typify the 74-year-old’s work. Its smooth concrete walls have a tactility that is enhanced by natural light flooding in through carefully positioned windows and skylights, while the arrangement of interconnected geometric volumes produces constantly shifting perspectives. This mastery of space, light and materiality is evident in every one of Ando’s exquisitely detailed projects.

Since setting up his own practice in 1969, the famously self-taught architect has completed over 200 buildings, with notable examples including the Rokko housing developments in Kobe (1983-99), the Church of the Light in Osaka (1989), the Pulitzer Arts Foundation in St. Louis (2001) and the Modern Art Museum of Fort Worth (2002). In recognition of his consistent ability to create functional yet exquisitely crafted and emotionally engaging buildings, Ando was presented with architecture’s most prestigious award, the Pritzker Prize, in 1995. He donated the winner’s $100,000 grant to victims of the Kobe earthquake.

Despite his success, Ando is extremely humble and quick to point out that none of his projects could be accomplished without the talent and dedication of many other people.

As his team continues to work on ventures of increasing diversity and scale around the world, Ando highlights that his approach has not changed drastically over the past 50 years and his focus remains on creating architecture as ‘a home for people’s hearts’.

Bron: https://thespaces.com/inside-concrete-atelier-japanese-architect-tadao-ando/

TENRI STATION SQUARE COFUFUN Nara

studiereis Japan 2019

STUDIO NENDO

Tenri Station Square CoFuFun Location: Nara Architects: Studio Nendo

In 2014, the rail station in Tenri, Japan, was, urbanistically speaking, dead. Peak times were busy as commuters from the town of nearly 70,000 made their way to or from work in nearby Osaka, but the rest of the day, “the space in front of the station had become a place that people just passed by,” says Oki Sato, chief designer and founder of Nendo.

The mayor decided it was time for a change, and held a design competition to enliven the site. Nendo won, and with the victory took on one of its largest architectural commissions to date. The Tokyo- and Milan-based firm is known for its extensive portfolio of retail interiors, branding, and industrial design, and it brings every bit of that varied expertise to bear in the recently opened refresh of the space. And as for the size and scale of the 64,583square-foot project, Sato says that his team wasn’t daunted, and in fact “tried to design huge furniture, instead of an architecture piece.”

Tenri Station Plaza CoFuFun, as Nendo dubbed its scheme, is a supergraphic set of stepped conical pavilions, some upright, some inverted, like retro spinning tops on display. One holds a café, one is an observation deck and stage, and another a play area. Every surface—roof included—is meant to be engaged.

The pavilions’ forms were inspired by cofun, ancient keyhole-shaped imperial tombs made from mounded earth that can be found throughout the area. The cofun are beautiful and unmistakable, but blend into the spaces of everyday life in the city. The circular twist was pure function: “We wanted to make the space accessible from anywhere,” Sato says.

The construction technique used to create the plaza’s round cofun structures consisted of fitting together pieces of a precast concrete mould resembling a huge pizza. Because precast concrete moulds are formed at the factory and then assembled onsite, the resulting structures are precise and the same mould can be used multiple times, ensuring excellent costperformance. The pre-formed parts are pieced together like building blocks using the same massive cranes used to build bridges. Large spaces can be formed without the use of columns or beams, and because of the round shape the well-balanced structures offer stability against forces applied from any direction.

Ask Sato the intention behind the ubiquitous steps, and he replies that the singular form serves multiple purposes, from retail displays, to seating, to fences that contain children at play. “This variety creates an environment that encourages visitors to explore and spend time in different spaces within the plaza,” he says. “It’s an ambiguous space that’s a café, a playground, and a piece of furniture, all at once.”

Every design was given to ensure that the materials and colouring of the interiors matched those of the plaza as closely as possible. Furniture and fixtures made using wood from Nara Prefecture and designed around a cofun theme create a sense of uniformity with the plaza.

The plaza’s name, CoFuFun, combines the main design motif, the cofun, with colloquial Japanese expressions.

“Fufun” refers to happy, unconscious humming: the design for the plaza should offer a convivial atmosphere that unconsciously leads visitors to hum, happily, while they’re there.

The alphabet spelling, “CoFuFun”, also brings in the “co-” of “cooperation” and “community”, as well as – of course – “fun” itself. The result is a name whose Japanese and alphabet spellings mean similar things, so that foreign visitors to the plaza will understand it in the same way, too.

And that empty plaza that spurred the competition in the first place? It’s now full. After the opening, Sato says, “I heard that when citizens see so many gather at the plaza for weekend events, they are surprised to find out that so many other people live in Tenri.”

PLAN The plan for the 6,000 square meter area includes bicycle rentals, a cafe and other shops, an information kiosk, a play area, outdoor stage, and meeting space.

FOTO’S

TESHIMA ART MUSEUM Teshima

studiereis Japan 2019

RUYE NISHIWAZA

Structurally, the building consists of a concrete shell (25 cm thick), devoid of pillars, covering a space 40 by 60 meters. On the ceiling 4.5 meters above, two oval openings allow the air, sounds, and light of the world outside into this organic space where nature and architecture seem intimately interconnected. and season to season, revealing countless appearances as time passes.

between architecture and nature.

TESHIMA ART MUSEUM

Uniting the creative visions of artist Rei Naito and architect Ryue Nishizawa, Teshima Art Museum stands on a hill on the island of Teshima overlooking the Inland Sea. Shaped like a drop of water, the museum lies in a corner of the spacious grounds surrounded by once-fallow rice terraces that have been restored with help from local residents. It was designed to interact with its surrounding, pushing the tangible boundary

TIMES I + II Kyoto

studiereis Japan 2019

TADAO ANDO

Wall: The Time's Building, 1984 On the Takasegawa River, Kyoto, Japan

Tadao Ando

1. Entry plazafrom the Sanjo-Kobashi bridge.

210

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At times walls manifest a power that borders on the violent. They have the power to divide space, transfigure place, and create new domains. Walls are the most basic elements of architecture, but they can also be the most enriching.

Historically, walls have had negative associations for many people. The enclosing boundary of a penitentiary immediately comes to mind when one thinks of walls, and they are often perceived as devices that physically and psychologically separate the inside from the outside. Walls are heedless of the inmate's longing to be outside and forcibly keep him in. To the outside world, the walls of the penitentiary proclaim that the place is for those who are to be shunned. Walls are symbols of separation and have been regarded as a means of closure. Having been relegated to such roles, they have quite naturally been used only to cut off space.

To reject what is to be abhorred and to accept only that which is desirable - these actions are very much a part of man's most basic behavior, that of habitation. It is a central concern of habitation to keep out the external world and to protect the world inside, to accept and assimilate only those aspects of the outside world that promote the maintenance of the inner realm. In other words, habitation depends on the skillful manipulation of rejection

and acceptance.

There is generally less tension in the act of acceptance than there is in rejection. To accept is to affirm and with this one tends to put down one's guard. However, if everything is allowed to penetrate into the interior, the internal world disintegrates and its centrality collapses. This results when there is an absence of tension in the act of acceptance.

I believe therefore that tension should be as present in acceptance as in rejection. In architecture this tension signifies an intense confrontation between the inside and the outside.

Thus, those places where the internal order meets the external order, that is, the areas of fenestration in a building, are of extreme importance.

In my buildings, walls play a dual role, serving both to reject and affirm. By positioning a number of walls at certain intervals, I create openings. Walls are freed from the simple role of closure and are given a new objective. They are calculated to accept even as they reject. The amorphous and immaterial elements of wind, sunlight, sky, and landscape are cut out and appropriated by walls which serve as agents of the internal world. These elements are assimilated as aspects of the architectural space. This tense relationship between inside and outside is based on the act of cutting (as with a sword), which to the Japanese is not cruel and destructive but is instead sacred; it is a ceremonial act symbolizing a new disclosure. To the Japanese this act has become an end in itself. It provides a spiritual focus both in space and time. In that tense moment, an object loses its definition and its individual and basic character becomes manifest. Walls "cut" into sky, sunlight, wind, and landscape at every instant, and the architecture reverberates to this continual demonstration of power.

The more austere the wall, even to the point of being cold, the more it speaks to us. At times it is a sharp weapon menacing us. At times it is a mirror in which landscape and sunlight are dimly reflected. Light that diffuses around a corner and gathers in the general darkness contrasts strongly with direct light. With the passage of time these two "lights" blend and enrich the space. Man and nature, mediated by architecture, meet.

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UNIVERSITY OF ARTS Osaka

studiereis Japan 2019

KAZUYO SEJIMA

woensdag 27 februari 2019

Kazuyo Sejima - University Of Japan = New school building for the Department of Art Science at Osaka University of Arts

by Kazuyo Sejima in 2018

Foto’s

Plannen, sneden maquette

(https://afasiaarchzine.com/2018/12/kazuyo-sejima-27/kazuyo-sejima-departmentof-art-science-new-school-building-osaka-afasia-6/)

1

woensdag 27 februari 2019

2

WATER TEMPLE Awaji

studiereis Japan 2019

TADAO ANDO

Water Temple (1991) – Tadao Ando (Awaji)

WHITE CHAPEL Osaka

studiereis Japan 2019

JUN AOKI

White Chapel - Jun Aiko (2006)

Artikel

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