Celluloid Jam / N MAEDA ATELIER

Posted on abril 27, 2013 by :: noticias arquitectura ::

Architects: N MAEDA ATELIER
Location: Yokohama, Kanagawa, Japan
Principal Architects: Norisada Maeda
Structural Engineering: Ryozo Umezawa
Contractor: Kasahara Koumuten
Area: 80.3 sqm
Photographs: Toshihiro Sobajima

Imagine a site you might picture, when letting your mind wonder back in time: damp soil forms a soft ground, catching your footsteps, ancient, weather-beaten stairs, that have been used in earlier times as an earthen path, a lovely old retaining wall and carefully cherished plants. When we first set foot on this old soil in the city of Myoren-ji, we not merely got interested by this lush site, but rather fascinated by its’ overwhelming beauty, that laid in every single FIBRE.

Such a feeling should never be seen as something disturbing, when it comes to architecture, moreover should it be as such occupied by the grounds’ fascination. To put it in other words: to build an architecture does not merelz mean to “put something on the ground”, but rather to come closer to the grounds’ scrupulous dealing.

If you let your finger run across the complete surface of Celluloid Jam, no matter where you would start, you could a) go in one round from exterior to interior and back to your starting point without taking a break. b) touch every point on the exterior as well as on the interior and returning back to your starting point without lifting your finger once.

On one hand there is the surface, which results as a flow of the architecture from outer wall to roof to flooring to interior wall to ceiling and can therefore be seen as a seamless structure. While on the other hand the shape itself is being created by cutting, opening and bending the so called Moebius strip (which is formed topologically by twisting and turning a belt in shape of the number 8).

You could feel the longing for the ground to become one with the architecture. So in order to create this connection of exterior rendering, plants, rooms, retaining wall, terrace, ancient stairs, patio and balcony with geometric help, the two components (architecture and nature) have been slowly combined to one united mass by applying adhesion.

To underline this impression, Celluloid Jams complete surface has been realized without visible junctures. The wooden construction is revetted by fibre restrained plastic to create one unique surface of both interior and exterior and furthermore to form one flowing shell, in which the punctual static loads are being reduced, while the static loads can be evenly spread. So the architectural shell approaches its inspiring natural example: the egg shell.

On top of the soil, where the Moebius strip touches the ground, the border between nature and the architecture dissolves into nothing, just like melting plastic. This separation is merely seen and projected by the eye.

Celluloid Jam / N MAEDA ATELIER originally appeared on ArchDaily, the most visited architecture website on 27 Apr 2013.

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AD Classics: Tower of Winds / Toyo Ito

Posted on marzo 18, 2013 by :: noticias arquitectura ::

The Tower of Winds is a project largely indicative of Toyo Ito’s approach to architecture, particularly his belief in the importance of technology and its vital role in the future of architecture. The project not only embraces technology and involves it in a dialogue with the city, but also establishes a direct symbolic relationship between nature and the installation.

By day the tower, clad in perforated aluminum panels, reflects the city through the reflective surfaces covering the steel core. The project is rather humble, literally reflecting the city through the complexity of its material. Come night time, the Tower of Winds takes a more pro-active role, translating sound and wind into light through two computers sensing the varying wind and noise levels and accordingly powering 1300 lamps, 12 neon rings, and 30 flood lights at its base.

The tower is constantly transforming, its small lamps changing colors according the surrounding sounds and its neon rings rippling according to the winds of the city. As a result there is no pattern since the display of light is a direct representation of the environment, portrayed on a 21 meter high cylindrical surface.

The project sits as a technological sculpture, welcoming travelers arriving at the rail way station of Yokohama, and oddly enough housing water tanks serving air conditioning machinery for an underground mall that it sits atop. Toyo Ito creates an infinite relationship between technology, architecture, the city, and its inhabitants emphasizing the profound impact of the city on the human race and the crucial role of technology in architecture.

Toyo Ito was awarded the 1987 Edwin Guth Memorial Award of Excellence from America’s Illumination Engineering Society for this project, which is credited for its tribute to cosmopolitanism. Ito was awarded the project upon winning a competition in which his success is attributed to the ability to convert a purely technical structure into an iconic landmark for the city.

Architects: Toyo Ito
Location: Nishi-ku
Area: 43.45 sqm
Year: 1986
Photographs: Tomio Ohashi, Toyo Ito and Associates, Flickr User ..colb.., Flickr User wakiiii

AD Classics: Tower of Winds / Toyo Ito originally appeared on ArchDaily, the most visited architecture website on 18 Mar 2013.

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House in Shimoda-Chou / EANA

Posted on enero 29, 2013 by :: noticias arquitectura ::

Architects: EANA
Location: Yokohama City, Kanagawa, Japan
Design Team: Kohei Iwasaki, Tota Abe
Area: 77.8 sqm
Year: 2012
Photographs: Koichi Torimura

Construction: Eiko Kensetsu
Structural Design: Kenji Nawa, Nawakenji-M
Total Foor Area: 142.60 sqm 
Site Area: 175.10 sqm 

A residence we designed has opened and closed space to be suitable for an owner’s multiple lifestyles. Since it is located in a high-density residential area, it is possible that the house might be surrounded by other houses some day, except for a 2 meter-wide corridor that connects to a public road. For those reasons, we needed to take such a situation into consideration, like securing a vehicle turning space. The owner of the house also wanted a big living room that has no interrupter such as pillars in the room to welcome guests to the home.

What we designed based on a high-density location and owner’s requirement is to create nesting space composed of three-sized boxes: big, middle and small in order to make the expanse of the living room. The other idea is that outside space comes into the house because an entrance is set in the center of the house. The outside space brings light into the living room as a light corridor. In other words, it is designed as a horizontal light court that penetrates the several walls.

Additionally, since the entrance usually placed at the outer surface of a house is placed in the center of the house, we can say that going inside means going outside. The project at the high-density residential area opens up a new possibility for the living in the opened and closed space.

House in Shimoda-Chou / EANA originally appeared on ArchDaily, the most visited architecture website on 29 Jan 2013.

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House in Futakoshinchi / Tato Architects

Posted on julio 13, 2012 by :: noticias arquitectura ::

Architects: Tato Architects
Location: Kanagawa Prefecture, Japan
Architect In Charge: Yo Shimada
Project Year: 2009
Photographs: Mitsutaka Kitamura

Many of urban housing lots in Japan these days have been divided into pieces to leave small, narrow spaces, where, in general, various functions are laid out around a stairway in the center of a single room. This may be a solution to fully utilize the limited space. My concern is whether it is comfortable to be in the house with the stairway and other details of the house always in sight. I dared divisions to limit the visibility to give a sense of expanse to the existing space.

I coordinated, in a solid space of 4.8 by 7.4 meters floor space and 8.2 meters in height, six levels of floor, a stairwell through three floors with a skylight covering the top, another stairwell through two floors with another skylight covering the 1.5 by 1.5 meters top, an enclosed sun deck, etc.

I used material serving both as structural member and fire resistant board for the basis of wall surface treatment to comply with strict fire prevention regulation, which allowed using finish of a broiled cedar of high durability and of a calm appearance.

When you step in the entrance hall, you will be facing an atelier of concrete floor the level of which is the same as the outside ground surface. The client will ride his motorbike in for maintenance or for storage and for enjoying DIY hobbies there. On the left provided is a bedroom of half underground, where the entire interior is finished with paulownia wood for humidity control. From a little leveled up floor you will be stepping up to the dining and kitchen on the second floor, or further turn around and step up by three to the living room, or further turn right to the stairwell, or further turn to step up to the third floor. You will be thus rising spirally.

The living room of open atmosphere with direct sunlight introduced through the three windows, the dining room of calm atmosphere with the skylight six meters above through which the sunlight is reflected down to fill the room with constant softness all the time, and a bathroom on the top floor filled with sunlight and yet privacy is secured – all these rooms of different nature are combined with coordination. The inside of the stairwells cannot be seen from each room but the sunlight is delivered to each room through the skylights and through the stairwells. This invisibility together with leaking light is giving a sense of ever expanding space in a small building.

House in Futakoshinchi / Tato Architects originally appeared on ArchDaily, the most visited architecture website on 13 Jul 2012.

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Think Space: ‘Alejandro Zaera-Polo Never Planned to Win Yokohama Port Terminal’ Competition

Posted on junio 18, 2012 by :: noticias arquitectura ::

As part of the 2012 cycle of competitions curated by Adrian Lahoud, Think Space is calling for entries in its Yokohama Port Terminal competition. Simply put, the Yokohama project actually started around the possibility of generating organization from a circulation pattern, which is basically a hybridization between a shed – a more or less undetermined container – and a ground, thus inventing a unique architectural/urban typology, one that would go on to influence a generation of architects. More images and information on the competition after the break.

“This is a project that we never planned to win”, say Farshid Moussavi and Alejandro Zaera-Polo in the introduction to The Yokohama Project, published in 2002. Some ten years later and looking back, Zaera-Polo continues: ‘The Yokohama project was the origin of my practice. And the opportunity to crystallize a type of investigation that I believe involved a whole generation of architects, and to test it with reality. The hybridization of infrastructure, landscape and architecture, the integration of computer-aided design into the practice of architecture, and maybe the exploration of a global practice were tested through this project into a real building. And of course, it was a huge personal experience.’

Rem Koolhaas, one of the original members of a jury that included Arata Isozaki and Toyo Ito, stated after its completion that the competition deliberations took a fascinating turn: in a jury divided between professionals (architects, planners) and non-professional members, it was the non-professional section that insisted on two key elements: uniqueness – the project had to be a landmark – and adventure – the project had to be an architectural experiment. Emboldened by this spirit, the winning design the jury selected, corresponds to the two criteria: It is unique (there never has been a pier like it), and it is architecturally an experiment: an investigation in a new, more fluent way of organizing flows – no longer ‘everything put in its place’ but a freer language that can make the familiar exciting again.

The project starts with what the architects have described as the ‘no-return pier’, an ambition to structure the precinct of the pier as a fluid, uninterrupted and multi-directional space, rather than according to gateways and fixed orientation. A series of programmatically specific interlocking circulation loops allowed the architects to subvert the traditional linear and branching structure characteristic of the building. Rather than developing the building as an object or figure on the pier, the project is produced as an extension of the urban ground, constructed as a systematic transformation of the lines of the circulation diagram into a folded and bifurcated surface.

To register and for more information, please visit here.

Think Space: ‘Alejandro Zaera-Polo Never Planned to Win Yokohama Port Terminal’ Competition originally appeared on ArchDaily, the most visited architecture website on 18 Jun 2012.

Pojagi House / MDS

Posted on junio 18, 2012 by :: noticias arquitectura ::

Architects: MDS
Location: Yokohama-City, Kanagawa, Japan
Project Team: Kiyotoshi Mori, Natsuko Kawamura
Project Area: 102.68 sqm
Project Year: 2010
Photographs: Toshiyuki Yano

The term tsuzukima (literally “continuous gap”) refers to a space overlaid with traditional Japanese tatami (straw) mats. By shutting the sliding doors, these spaces can be used as small rooms. When these same doors are opened, tsuzukima become part of a single, wide-open space. This particular residential project expands on this concept, evolving the tsuzukima in a new direction.

At the beginning of the design process, our client (a professional designer) suggested that we use the traditional Korean pojagi patchwork cloth as a theme. We eventually decided to create a tsuzukima using pojagi fabrics that our client had designed and produced. The loosely defined spatial layout of the house was based around a series of colonnade-like walls built out of a series of square wooden pillars measuring 150mm across and movable pojagi distributed throughout a simple, two-dimensional space. The layout of these fabrics created a series of ever-changing scenes throughout the house.

The concrete portion of the foundation is used as a studio, while the part of the building elevated one level above the street that faces a lush park was used to build a two-layered living space. A high-ceilinged dining area with a loft space situated just above it occupies the central portion, resulting in a flexibly configured layout that encircles both spaces. Rows of wooden pillars that serve a structural function line the boundaries between these constituent spaces, while panel heating allows heat to be stored in these wooden components, helping to gently retain heat within the interior. The pojagi serve to block cold drafts that may enter the house through the windows, while also allowing heat energy inside the house to circulate freely by making optimum use of staircases and stairwells.

The exterior walls consist of the same modular structure that can be seen in the pojagi fabrics and wooden pillars in the interior of the house. All four sides of the building feature black walls (a traditional Japanese facade made from cedar boards that have been heat treated in order to prevent insect infestations) and glass panels that display a similar structure and configuration. The views looking out of the house also resulted in a slightly different ratio and placement of windows throughout the facade.

Pojagi House / MDS originally appeared on ArchDaily, the most visited architecture website on 18 Jun 2012.

Casa en Izumiku / Studio NOA

Posted on agosto 8, 2011 by socializarq

Cortesía de Studio NOA

Arquitectos: STUDIO?NOA Architect & Associates
Ubicación: Kanagawa, Japón
Fecha: 2008
Superficie: 58 m2
Fotografías: Cortesía de Studio NOA

El terreno de esta casa está ubicado en una zona elevada en Izumi Ward, en la ciudad de Yokohama, con una vista panorámica del Monte Fuji. El concepto exterior es la simplicidad y la abstracción a partir de las funciones de la vida cotidiana.

Cortesía de Studio NOA

Al entrar en la casa, un gran muro de vidrio da la bienvenida a los visitantes. Al otro lado de este muro se dispuso un patio interior rodeado por vidrio, que ofrece al espectador un espacio inesperado con condiciones ambientales exteriores.

Cortesía de Studio NOA

Las ramas de los árboles en el patio se extiende hasta la terraza en el segundo piso, ofreciendo distintos colores de sus ojos de acuerdo a las diferentes estaciones. El segundo piso contiene de un espacio que sirve como habitación principal y una sala de estar, además del comedor y cocina con vista sin obstrucciones más allá de la terraza.

Plantas

Casa en Izumiku / Studio NOA originalmente publicado en Plataforma Arquitectura el 08 Ago 2011.

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Terminal Marítima de Yokohama (FOA, Japón, 1996-2002)

Posted on julio 12, 2010 by socializarq

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Terminal Marítima de Yokohama (FOA, Japón, 1996-2002)

Situado en el límite entre la tierra y el mar, eliminando el límite entre ellas.

En el proyecto no existe el Concento “fachada” “Arquitectura sin exteriores”.

El objetivo fue convertir la terminal en una interface entre el océano abierto y el conglomerado que forman las ciudades de Tokio y Yokohama juntas. La solución fue hacer un edificio achatado y ondulante.

El espacio es sumamente dinámico, fluye en todas las direcciones. Los detalles de diseño también colaboraron para darle dinamismo al edificio (las maderas del piso, los pasamanos y la constante visión del mar).

La función de la plaza / terminal no es simplemente organizar los flujos, sino también configurar un campo de intensidad urbana mediante la ampliación de múltiples caminos y direcciones.

La superficie del suelo se dobla sobre si misma, formando pliegues que no solo producen y contienen los caminos que atraviesan el edificio, sino que también proporcionan resistencia estructural. Hace desaparecer la separación entre envoltura constructiva y estructura portante.

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Archivo de la etiqueta: Yokohama

Celluloid Jam / N MAEDA ATELIER

AD Classics: Tower of Winds / Toyo Ito

House in Shimoda-Chou / EANA

House in Futakoshinchi / Tato Architects

Think Space: ‘Alejandro Zaera-Polo Never Planned to Win Yokohama Port Terminal’ Competition

Pojagi House / MDS

Casa en Izumiku / Studio NOA

Terminal Marítima de Yokohama (FOA, Japón, 1996-2002)