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Sou Fujimoto Primitive Future

Sou Fujimoto Primitive Future

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ConI" mpQr.!.ry Arch [Ieet's .

Co nC<lpt Se rles 1


Or C'2I'I3

NOles. wllhout

SPlve,. • Th EllNew G,eom.a' ry

Sapa mncn -a nd Con rectlon Ck1y 8S H cuae - Hause a~ CUy JI1 a Tree-11K" Ncbutaus Gun] - l3uru P!.ace

BElfcre HCllJse -and ell}' ana Fcree!

8.1019 Mati., and Sp.o.

Sou Fujimoto

Primitive Fu.ture

iii:$: I;):§I ~ tJ)m~~-::: .iHHi b

C') '"

IMlfli\l" Ut L.. ri 5 ~~
T"'- -Iv!': ;!i!l-::5< b

C');.t ~ '=erf.H-:::

Who Is Sou Fujimoto?



9. ~3KQ) J:? t,t _!t;t t,t


O)!lC~J.a:: _1::Jj.Jil

L..r v' ';'G) jt,i'";!t.;t

I'd:, {Il (I) I*J tf~f':: fif:E



:..-.. L..ip It v' 1::;:, .



-riUl.f!,FJ-' 6,~,§Ii

f;J:t,tv 'xrl,

n~-c';ftJjl1'(U': iJ'n'''J

-r v ,;It 0) r-:t.

Casting off "Weak Architecture"

.f!:tnl§l!*,I:: L.. --c{iiJ~/t<Jliv'o


... d>.';'. ~Jx_I:! (MMfm~


I.,~rum ..,",1

!JC.:m:WlNHjjl1J)![~» (2006) [pp.2S-31, 50-55J r.J:W;t't-t* '7-11-"1':7"Gl)~-7ljnI7 7' I;J:~L..I ,;!tit (/)J: -j 'J:1T~\!'z>i'< L- -r \ -t~~fLl:.(I);ilt~>;!>r.i'1.:: ',f.v'll) :!J'bLjt,f,t -:7""'('<!?~. -,£:11'0=..;< _b,(I)~fiiit.o~~~"J"(U;:

- .... "C';(;;, 6. ~1&1J:1Ii !!U::!!t!II-tt "J --cilGilia nit "I'-"._-

v' 0. ~=-

:7"1'tfl\l{,f;t-!E htl:l "1'-",-


I hear


Fujimoto's Cnmpeli

narnc, ti

I reme-mber

the Aornori

Prcj'l:('lurai An


1!.tld(' ",,--;;II-;t~ ""=-:1''')~~lp~illin

I\.j useu m Design ,'Tond



60. 62J ' H1' "i I.1glasu-d he was still unly 29

lLliI I he

ruund uf judging,

the tim" uf th,.


yea,,,, ,Id

-!d') H" 1-:::;l: ~\Ii'I.t v't.::6:5. f
z: A A

';: x: .... Y.A' A-'" i!",._ T t,tm-fliJ~,I:: v\ _., t: "f: 11'

and I


as the 11<'d ,,f Lltr' _j '''.y. He held his own agni a
Kurokawa.jun Aoki, and Manabu Chiha

p roposals I'm", alone

xllifl \.'~ ft Itt ":>tt. -c 1>tl;1J ill. tt ~'(J) -r:: iO;. {l"
1t9 t-'~~, -c v' it II;'H.::,
'/ ~
OJ l-

figures such as Kishu

Appearing architcrtu

,::_ tt.li Iv

rm:;* 7 -


Y ;o;f;l<:iJj: It*~/~

'Y jf

and aloor, he h<'grul by suddenly
I alk('d

sa)'1J ',(, "J wa n If) make froru beginning dumbfou narrow


,,- J /'"

(2005-08) [p,121] iJl~H1H. tz ; ;: tt. b i t: "I'- ~ - /'

beccmirur abour



end, he nnnrhalarnly

hi~ ronrepr, leaving the judges rook the lirsr pri""

ruled hy 11i$manner, margin, bur his clear

"<- ",:1-C!~t.tV,. :35 cmjij ®*ttU) J,..t-.ffiJ~ ~ -It. p;llill~;t -: -:>"(IIi'!:&
IJ tilL

.1,,11. *v'frltH1
1':» t"..-{'Y'.Ti"lt

i\"kj 5nally



way "f

I alking

JeI\ a powerful

an,1 Ia.,lillg impression, the notion archii ecture

tDJ:? t,t~1i.91l:?<

-n,'~ ",:/o:/tt~"--:1l';b~. ....


to r\~jjl11"In'S OVI'n explanation. about is "not making

or "weak


thsu 1"'1

tlliil!!'tH:mJ>!i:-t~ (l) I-;J:~? 'i "(''bId.'" \ Ill. IT;f!CIj:~a:

he was then talking from the relationships

from an overall order

.$:Ut IJ • ....:.;.- f: feb tJ: 0 ~lc'1t*l'jJ~~

v\* 0<.-7' 1ls~~ L."'y--" &>0


each 01' the parts," and '" ~ n:sult, "an nrrler ran

tDK. illf.-'I'" rlJljHlt1i!iJ ~':6l,"I-;tt,tv'.
Q IglI, 1t~ij!-~

be made Ihal inrorporates uncenairny nr disorder" lFmm th e- TX Probe lecture

<Ii;, tl.



;:7'"-( :tl.r;t;t:t(l)-j§:f)


1/1.m1Q~i!e MfJll"m!, with rnnnopitch
roofs in Fujimori.'s prvjJ\",,1

Tn be SUIT, the small volumes Aomori il1tql,r.m,d

Lue the


Ji~1.l~$t14> (I) !t~< ~ "('~~T !.M:lti¥JII!~

l'ib;;'. :to{:-":> <: '::'0)7P:': mh!l&.rB<Jft~~1iI-;tJ: -t-<7)~


-ro -=.1:: KJ:-:>'t,

['rel"" L ural An ]1.,1 uscum are connected
by loose relationships.

vario us an gl es and the whol e is.
01' a compositional rule that

[];J x: 'J H.::

I'his is the arnirhesis

f) i!!!L.<1:.~T~

f-c~~' tJ: ~\. ~~O?/



(1,(; wl .ole, like a grid or an axis, >1 whole is laic! out 'he and appropriate relationships" I,,·t""·<:11 rhe adjacem

L.~ n" "'1.l'fc*'m~n:z,

Ii' • .!tn' ":>f,'f1tnQ

I:.:'%' L' <Ii;,-5,

with no morr than "modest volumes.

13,11 even

,r rhc



~'II axis

or Ijl'i,l (_hm instantaneously and appropriate



whole is comprehensible, Docs some kind or "lome .anyihing more than

what are these "modest order"

0)' 10 explain

exist there? AI present, he doesn't He si m ply compares

this order,

it to the relatiunsb of things

ips in

that exist between

'I hing>

in llLe natural world,

-[1,<" relationships

the "<II ural world interrelated. relationships architectural are all contingent. of his own They delicate world, are loose. but subtly sensiuviry and attempt, and delicately to fed them the as anirnalisti Fujimoto architecture feeling. frequently

B~' means of things diagrams.

he seems


Lht· re lariunships



in hi


in the natural


rnusical notes without as air probably fhere'"

a score, Arrangiru;

based 01'1 a module intuition

IhaL is as iovisible (2005) [pp.45, 47] that lhis delicate city in 0 unma sensitivity is given this is Fujimoto',


[rom an animalistic


It is in the T House


no need to dare trying


this, but I have the theme 'J[ is

maximum a one-story


Realized in a provincial


been tl11casy about his

his casual use of cubes as elements.

For example, (2006) [pp,28-3

house wiLh a total floor area of only 90m~ Enclosed
k panels, the subtly angled exterior presents a oher

by ...alls clad in
appearance. The



lor Psycluauic


I, 50-55J
and distances,

an array of whi tr- cubes, The rubes are arranged presenting the appearance beyond being of a bcautifu]

with subtle angle The cubes

apertures facing the outside are small and fel'\
Yer in the act of setting spatial variety. foot i nside, visitors are astonished and expansion, simplicity



posse.'01 nn is, after

by the unprecedented
complexity, poverty



that produce


Yet a cube

Curnpression reciprocal


all, a cube, It's impossible to escape the meaning of the cubes on which modernist
architecture was predicated, Even lake" in th e modernist COTI!cxt or minimalism

and richness:

elemen LI Exist here ,im ul tancously spatial variety is the distinctive subdivision of Lh.· plan. aU

The first step in "rearing
Though the rooms this residential are open,

and pure geomt'try,

this is unavoidable. these doubts, 1 W'IS c,)nfrnnleel [p.121]. with the :\iexl Generation it

space for a family of four is partitioned

radially, almost

\Nhil· I was harboti.ng W, ,,,den Bungalows

and the whole could also be called"

single space. That




This is aL'IO It cuhe. Moreover,

say, each room is enclosed toward the center.

by walls on three sides but the remaining
T describer!

side is open

is Dill l' one cube. Yel I h is cube is" 't a whi te cube. It's a m assive cu be comprising nothing
1'1101'(' I han

Yet even though

ii as radial,

the mreCOOI1S of the ~ubtly



pie es of timber; Out the interior;

from whicb II cave-like 10 say, the thick a

wall lines have been ~u'\iu,t"d with extreme
and appear and disappear, The relationships

delicacy, between

and in fact the rooms

space has been produced rectangular bench, pieces

by scooping


all the rooms are altered by

of timber

the structure,

but at lime' mix

,he)- also become is being manifested,

taking a single step.
Fujimoto For him, distance talks about lhis relationship physical 1:0 the as "arehitectur di tarter witb a sense of distance." relational the space"

a dinitlg table, and a bed, A truly stout, powerful


i, absolutely

not the "weak architecture" suffused

he has been smell

loing up until now. timber, penetrate this is also a the human animalistic will

this m ans "not, thai arises due

bul an experiential, and rnodulation of

A fragrarn


with the primitive



tactile architecture bod)' The


the qualities this projecr

the wood deeply

(ShiJ"'Lllcililm, May 2005).
This relationship the walls. The thick plywood,

realization to gmw in hi,


,,,U surely cause . ou Fujimoto's

or distance
walls standing

is made upon

even more


by the thinness




robust. projects.

[ am now waiting

see how this robusmes

these radially The

drawn lines are merely


be expressed

and an: used as the structur

suggCSts 'hey would of tension in the

bu kle if nor supported the 'pace animalistic because is instantly instincts

by rib, on mit fa e. However,

the sense


by the use cf these rhin walls. In this interior;
as welt as the visitors arc revived,

of" the inhabitants


they can do nothing

but react to hints about the various inrerrelarionships, able 10 talk extremely

Sou Flljimoto is an architect
he is an architect create endowed

logicaUy, bur on other


with a rare sensitivity.


he has the raleru to be called an

sum rich spaces using such frugal materials,

with what might


I>? <' -C, t;{", 7 - T.-o( A I- i;~~ -;>


c illt;


b 1;, ?/v,

WhO 1$ SOL! Fujlmoto? Il

v' tL'0? -t- J7)c~ t< £:~$


L..t: 0) tdl.

ffll1fi'P ~ ~ RT1e.






1.1' L-, io_~~ -_)< 6, h 9 ~'fiiWrE ~hit' f;::*Jl.1,<.g.-biT-C 1E1*~~;t





Geometry without Right Angles
Taro Igarashi

'5 h'

').!:: ~ fe, ~5 L-Tb il!jlj



m-r'5 (7)': Ii t.t V-t»;
rli~J .btil1Jh'?~~1.I'.

t.t G Ii d:', iliiJmI""b' V~7'..f './tt"~~lJ:d:',
It '0


O)~ra~ fe.:jQ1t'1:" i>i' IJ@:;fi'j f;l:~bnt;l:


~t tUt" v\~mH:;t,
The Last Architect SOli Fupmoto made his appearance as "the last architect." That ph rase was used 0)/5





II".. t --J tJ:;//l c, r~"Pfli'itf!7

- ~7 _;f--7' -4J 1'." f:t, l'1Ejfr,:;Q)~flUtrJ!ll


"It. r*J1Jl.IJ.i5,';IJtiJ;Jvl'o\~t;l:illt;:.1::dLt.:::iJ'o)J: ')

a symposium on lh~ theme of "the potential of the wi ih the August ,2003 issue of the magazine

under-Sfis," held ;11 conjunction



K",ddku Bunka (Shokokusha), Following a sene, of three youllg computer ""pem working in the field

/'t, :!tH,'/j)jntc:i&t.tiR

IclRti![ L.., illI>11J NI[i§

t. 1:" It' e,


~» (2003)
31, 50-55J,

or i"formation

envirnnrnerus, two structural engineers and

[po 56-571-


(2006) [pp. 28.-

a pa nelisr from a corpo rau: arch; tecto)re office, ; I was finally his tu m. Had th e architecture detached of the next generation already plunged into a world completely of tb e venue



(2000) [pp.6D" 62J tt ~ I:t, 7J,.~~ffl L-tc:

~J7)!fl-iltICu:rj1HHi.!!? :::_? l-t:::-¥$;!)l

~Flll1fl kJ::;;il~(lJ::.';;<,

fcurn tradi iional design? That was the atmosphere

. .f!li:(')flI:~I1::7'J'L.., Jtt'::":c;¢!t~v\if)IL,

-*15(7),15 f,,'Il

when he b"gan to speak as "the I"SI architect." ln an era where PCOIJk with

archi tectural education are rc"u~;ng on areas outside the [icld of architecture,

B*O)-lli. T-5;:

~\ I';l:, ~ioJOJI:illr&;R T .QJ~lH!~*= 7.-(-)v -r:;!b:O, -fh."iJ Z, *~lll1£IT§Ltc:

he has defiantly




r' -f J7)b J7)~

'vVhile charging into the ncwcenrury,



almost everything we confront still unknown, Fujimcio has turned to the roots 01'
archi teet life as on e of the olden tcchn not a simp Ie revival of rhe pa.<t.

KPO -'\" :"--/5 -1f*~0) Y -:J(/)"f-7
(0 =:;(

r =-,,--y


gi eo from th e

raJ' distan


past. 'Bu t this is


(/)Jii!;ii;l;--t ') VJ:.

1>. -.r16~

L.-T J

}j_ (2006) 1'." I';]:, 1&: I.: $;IJII i'1:It *-Ii: L..n: iJ3i;;$;III 1/1 {(House

~~I!U: l- T!flU110L..t.::
L- 1:".to IJ,

Looking ar rhe famous "Fujimoto mandala" drawing, in which he intermingles his own work with the Coliseum and Horyuji Temple, their designers unknown, or the plan of Mies van d er Ro he', N eue ~ atio nalgakri e, it is clear he possesses an awareness 01" history that exceeds 'pace ami lime. Vel this is not a postmodernisi qtJolauan of symbols from the past, At the levd of abstracted form, he puts the

OM»f1, j:::~/.l"~ll~-*i!f e:l'T~1:"i!l!~
trJ"7' /~

=1IJ:(') Y


t-J, -1;'01'1 tJ ~fi.r1.l'>tt v'.~ni3t;j:J

'5 J:.:.:

-51:t, -th.."fnQ)-l:.I'-fC.:ke: ~fjH Cl-tl;..., 1:", M~tttrfU.::;;,: It':;;, i"" J7)~*, "Ito

c -ti!!f.I't""(

P<J!l1lUi-'iflI)j'.f!I1[~AT.Q 'f" ~-

:;fi':(7)~!lm lllJ.ili1m
0~ lll-5

ff-l;ll] IJf:t fot

<. io_1*ill?~:l Q!liil 'r(/) J: 7 k

pa.<t and the present ill parallel,

In lact, because

his designs do not rely en cmling.


edge technology, Fujimoto'.


could have also existed in d," past. It as with the Annab An

n-Jj~iH[J:"CO 1:"~!iili f=.f!tl#;t;l:1'lff;,t- .Ej.;t{;, J7)101'iiJi:!l(7)~{"J"f:tL'
$I[ L..~\~friJ"¥I;t~ /,:/'jo-l'i!!, $1\ -, Q:::_

I; TtL


is suffused with rhe imagery of I11Monry construction, forum coropetirion proposal (2003J [pp.14, 46] ,

tJ tt" tJ'iO. , 1!R~<!~fmtt~~.1::U.


work that takes the layout

iii: jg J;( ill! (7)M11:~


J;!UI;;~ t.t@M

I})~:lt -t M.: G T.

of the wall, as its principle ulernern. Obviouslj; modern technology might be

if a roof is placed


top, but as an architecture or walls, 1 wonder

if its


spatial (2005)

schema 'night have been possible even 2,000 )'cars ago, The T House (pp,45, +7] is " one-story
house composed of' thin w!lud walls, but I


.I previa" ,Iy debated

how the h LlIwU. ra ce mi gh t have eli scoverrd artist,

rh t

right angle, in an argumellt

with " particular



Ihcn~ is probablv

can immediately imagine

ilnn tlu- <:I;"i15" cone,'p'

could aJ"o haw cons ruction,

been adJi."Vt'd


correct answer. AL that time, we envisioned
thOiI a "gb] angle wouldn't

variety of g!"nf'sis scenes,
at the .tage



the premodern

[CUll1l,41sphere or wooden

if someone



be neressary

or milking

a thing

had the idea, III the iarrer half or the I 990s, a gcnerarion appeared that was characterised

from parts, However, hy

"Iivr the whole has been mack or hypothesized,

it nugm be probable thar

on 1I1 pie archi ti
whirh derived an date became


ts j oin

ing lOW' 'her in learn,

"K' h as A tell er .HQW-VVow and
of dilil) .. life from various

di vid ed into uni rs, I he 11 those uni IS dean! y ,,,~]11 bled, so il seems

!vfi kan,

right lln~IF' would righl anglr-s

unavoidably apptar

when preparing the whole, Admiuedly;

kn OWn as yu ni uo- ha Born in til e I 96()s, th"} 0 bserved P\!ss",sing " sensibility

thl' ci t;~ and conriiuons

",,·d ill the earliest "Pac,",

or caves 'and



J' nal

a 'pm-c without

strict right angles br- described

as prior In "arrhuecrure"? the idr-a of an "architecture

req uirerne n rs, The i r anitud e IVa" a co Ll.~'l uco C~ of rev "lsi em 10r the economic and their

Pc'rhap> thix problem

of the rig'hl anglr- is connected The

the ego-driven posunodern ism dun had been lashiouable during
bubble period, The yuuirro-ha

of parts"


Fl1jim"''' often mentions.


Environmental Art Forum

abhor the heroir

b,'havi<),' 01 architects

is a proposal for a space with an arnorphnus profile. in which pmtean .paces are generated by processes 01' pushing: and pulling, I'hc plan of the T House alsn
seems to have been generated while

f."lntaslic,,_1 manipulations
oj" the great born masters

or form, Fujimoto,

however; has a di'·I"Cl awareness
Like him, architects

such a, LOUL,\ Kahn

and Le Corbusiet and Akihisa archirncture gra"p Hiram

il was swelling
that rpjeru nght


the i nside,

lh~ walls

ill the I 970~ such as Juny~ lshigam;
alone, RaIner than assembling

arc con'piclioLWr ti,e

collapsing iruoa radial arral'lg<'llleill
Dormitory in Hckkaido

"n[;1<-& The Rehabilitation Center 10,- Ps),cliia]l"k Art an!'ilt"


afler Ildvin!\" explailled

(2n03) [p..'>6-57J,

the Child,.~n'" and
i he


site, they Stem 10 have a direr:

oft he principles

I'm making I' ph cnorn rna


(2006) [pp,28"31,

;,O-55J ,

AOn1(1[i Prefectural

ne w urchit, 'c ttl re, Th ey have a 'U'{1Il g int erest in I),.. ""P<' ric n n' that occur between yuniuo-ha,

MU,<'LOm Competition (2000)

6:lJ each adopt

a SYSlem of non-right

i J1 .pn iIic places,
IJ1 d.-fining

such as rh e way J igh l i, see n rtr- [ht, re [ali "US hi p s

lor individual

u nit, thai use right iUl1':1 es. For his architecture,



lbe attitudes

or the gcnenltiuIl archiecct,

that has [ull!}w~d 111<-

method seems unprecedented yet it, parameters r~GaII the ancient pasr. Fujimoto's aim is to translbrrn ,,111;,- h is eq ui valent


is '" I cJ(tr{~rl]dy importam

'I1r !'(~ometry that underlies

dw coordinate -vstcm,

] h t Field itsell' That Kirin Pla,a

is why I invi ted him Osaka, euritl e d JV,w produced

[0 part ic ipare in

The Egg of Columbus I will "ever forgel the shuck I It·lt the lirst lime I Saw Lilt" model

an exhibition

r ,,""g,u.1ized·at

(,'eo""tr; ;!11:l!ilic/lff,:
model of [he


the Tokyo Ilf many

'Iinoard an Jlltmmtiv, Modernisn: ('.10061. F~jimoto
House 0""1, in which a La,W. entirely

a full-size

Apartrnern (2006-09) [pp, I I r, I !4-l 15J ' It is an implausible srrne
howe-shaped philosophy


wall is intertwined

In creat

volumes nonchalamly
of d ccoustruc

sta ... ed up, There's k


need tu study the

a double-ring 1'1",,- As I expected. there werropenings at the places where LI.,.. wall intersects,
A, a resuli , it expanded

righi angles, By making large

lion or Wrc

r~ to nvant-garde r
profile, we become

an, ". wi th posunodcrn

it "voided becoming """"I)' closed. inn-rpcnetratinn of like

archi tee Is, B)" the
is >!S.emblcd

simple DP"TaO'In, lh ~ rr,mi liar irn agt: of a h OUSl" sha p c
different that! Aut at ihe w'ry rnornem able

ln to a tubular

'1'a.-,' wi rh mutual

into a completely

a new

inside an d oms; d~. iN; 111 no d dim im uun



ihe who le wa s rormected

disrovery ,i" presented
compklcly Egg obvious. The

share recall

it a, somerhillg
the Laic of the

an uudulaung


IT orcfu.oMy.geomrny

give., " lucid order





hy Fujimoto

or C'..olunlbus,
i<., the

mean s of right angles and parallel lines, new "c<Jmnry may be simple bur give,
birth to complex an d di ve rse places; By if'! rnduci Jlg a sensi tivi ('Y Lhat predates the

A version

01' thai same anecdou-

is told about the Renaissance ,.ottld

arch iteet Brunelkschi, bu L in a <1 y ca."~ for 'omethi n)'; 1I'"dLlook., Iik~ anyone

righl aI1!:k, 'Fujimoto


"rOlll"mpfll'ary .patial '("'Eib;li,)'

"Wo done




8.Ctutilly dn i, h", shown a spa rk or genius.


1 2 Nest or Cave Notes without Staves .House as City In a Tree-like Place Sou Fujimoto Nebulous Primitive Future 7 8 9 Guru-Guru Garden Before House and City and Forest 10 Before Matter and Space .The New Geometry 3 4 5 6 Separation and Connection City as House .

u bcglllDings intuitions. 1:"1. '1 hi:.(. whr-rzvr-r l'X. . ..r OIL Ll"...' tlni'lllaLiol\ .t.' To cousidrr IHTlO\·i..t."'<-. .' " <"onn'p'IO" fJl.(!(J~~rr humanity rnl..m~ -r-. ~1·chilC:l'll1n·. I IS or 1C:1I""''+.c4i'i$: .1) l..!::~~~~t(l) rnn inhabit.i 1::'.'J'./).')4) li-6 i: L -r MHi?i q) 1). II) ip i:: :\n(~-4'¢. _. AIJ' \.t 'J ~.'10$: Q ~!'~llljl.. i<k: (.Il:f@J(J(J!:: .: .o 't'1. of arr hitecture.: < ::_!:: uf rl--pari uri..' Ii' ').t. C L '"(I.fl. it .\ 'fr:!JIY ! It. I:} ~~ Ii.:::.j ..:. t..::.inl1l1ll<' rr u.Hrhilt-l'10rl" and the possibiliu r s "r III:.'.?.®(J\ t. . "-if) \' 6-lt}fili tht· ~'lInd1Iiot!~ ul hII man ljLll.. -:0 1:. rlfi 1e:..q:1l}l .-~ -r!'t l I.lSI. I'IJ "'-.rr' and \\ hen til n:1LH'{' . onvi sion [nun 1hr- rnnrurm '. -t. Here are the [en . 'J'h-u 0.u.i. i:l !:: \ ' 'i -.fii~~ *-6!::..:)kO')ijJ-!.r~ lur new A(I)v. T!i?-r: L-l.tllJ'( hr-ranu' dlthil!·rturr.1TTI1iu'::4.0 ~ at rnurnvnt I~ t" lw~an. ii~(."( L 2: " ..7.'~lV(.· f" 'X1:t.. ·N'I'·S-t6 j-!i!.j .. .1.v-". Th U'. . ..::i'I'/J· G. A(I)".f'. JJiHJJSCjI-tit i the future is ""nnl_. .~ _ <!J ~ ~-' vel related . i he rXi:l.-'it1t:..('Ul11('_ **fct.LI'. (I) (·I1L~i'W·d Ih.( -If 0 t.m~~Jf' i'1c. not 0-"'.i.' full or promISing projections.H'''I'lH dOll1ail1.(l.:!~}iH=-2' ll'O')I£-6. \ t:c: .I).)' h(.• 1""..: IJi.I)h-iiit I) 1.{j L ~ (l)tifo people m us Thus.?~ a rchn r r r u re e q u a ll v p rrm o rdi a l. PO.'L.t1 ~v'{.~rt'hitt"( lUI r 1510 :--7t:v ')r~:t~2'1'!'(/_l11611n"1±to: i) (::.V.j-. The" ..(. 1~ t: 7.'U:l. U:'o. ~~:\jl.rrr hiu-rture "'il~tncling.> iv. % L-Tijj:~V)lrr L I.J" IF.''-j 1-. !:: v' .. rat her. t 0tT'll:_ -"C'fit." beginning.f".f.cnese. -tt.).1 V.~ ..::t.: (I)/j/o ~ IJ fj. urchiu-crurc l-qwv.tv. novel archuuc ture 01 3 mr'IT t..f" I.[e_an field togEther with ..hingly r('ll. of places people "Jl:il &~L(I)t'(I)~.· .b -.p.r rr.-f~Lfi.:' ~. p'" ._ Pr-irn it ivr- future i.~g-in(' [hal is Iundamentallx gr!ing m* T!IfJ!&H: t~(.II" -n v 6 • VJ I 11 .L .l&\ (T).(" 10 (l)i. Llwy tr(Ln~ hark (. ~ [he ancient histnrv 01 Rome or L-reen.m-L\'Ij_t~.t:i._~.-1Z: ~n'(/)H. Transcending architecture.J.. An>I'. 1i rh.:.. 1:£/.uPnl cl In I:: tt #II'H.r-1'l'nn:. I) ::_ ~~*(o~*~~it.lt e.J~ijr!:: -CfH~!/.I)J!/.5 .·u 1 H"Ca nil Wi t--It it. !:: primitive ~Lrrhitl"Cll.lrl·.ll@ll.rh oU[comc~ arn o n gs t each 'LT~ oj t1iHl'ITIII is un ique.'~&:l: I) another.{. 10 spe c ul.t1l'/1i7.f' arc hue~'1 uri" ! 1"0 n pi U·!':.J_.in-rr-arl of nll~ righlPnus -r~~j(if)Ml$.t~jifi(l)tvriJ. m.. -o t: 14\~ -C"6Ii-ht!b f':. J.. . hark ill ri mr In:[L..uIHI lu an ove rwhelmingl Each starting-poiru y e mbrynuu .J t.L-t~l-(1)1t611) t/·l:_ '1: h -( iJ"JI:tl!\t gi'T' birth 10 rnvriadx I:'. and uriginarv trace or human I±J '(' < Q 11i:!:r<fJ a-~.::' ~PTr t 11 t' Imagine the rliversir.:: !:: ~%'f -"C'rH-" .t.: l: 7< 0 of a nebulous.

• 1· -c' ~j: iJ: < H~jJ 0) J: :> ~ Nest Cit Cave NEST CAVE 21 .

irt.(.. natural pUrr'. A I..m.L'H arLhelrpf'.'~t.. pUI"l'. hints of convexo-ccncave farton.:tionaJiFlll bu L by pl.l1n.ma. Ii·I·'!".llr~..ing L\-C"ilhcr a cave is a pruvocat."mwonience ad"ptly r O[hcr".:tnJif(I!1J<IJ riW1l!'l t L'(/)i1!~Ht!WiT~.r~. artifir-inl.ots' Q sense of COmfirrtubilfrv ".>v.i "":t f. [0 Not dissimilar . n:ga"::Ik.'~D~~1'. AIt L tlfM).lVo-1l1lJl1edia.:J &l!1i1H'~ffiljT6<1)..t l .:..tU: 1'.: "'.i. !\UrfalC~ and scale-so l'his is :In.. topography is o"'pose d " r '11 em increments. <s.y .1J t~<." devised JS a (Jest r()r people... I:': <.'i.~ tu if< inhabira"..'1:t/."imiJmcd 10 [he Iilndsc:.:.ii{'("ordinE'{ to inhauinl.as landscape.i't:.\"(.{..pe illU~l·pn ting the . It 1. iL rr-ruams indiIfc!'cDL \(1r10U!:i.i"v(" and u.-!:'=y.ft lr is a proposition tra nsparen! and artificial for a cave.:.:hl[Ccture of unr Iatcrl exrernel Le Curbw.''{. i'til\fj'{' Thi."r~.'~~1'R L t~1J1 "'!:E4.: by Upon ."0' rlttrl:ll')Q)M~~J t . IJ nest is prepared .s[nCl:cd milieu. "_ it is simultaneously AIil1>1iil1mq)"m~.'A fr. furniture we'll as architecture.:: l./:<..k. [4~n u «.IiM~. name "Machine for Living. humauj.I II 35cm ~1\l!:~KJ:_-:>"(1'. ~fJ~ t ~") 161: Uv' T~]l~i'~<I) ~ ~1J'I'j l~iif. 'j Jfi-t. Ijt. § 711'. who prociaimed Tracing I'unhcr buck..0:.'~G'~~~~-~1'.. onside r tilt' t" . r search !~:H'an itlcnl I I I I II (' . hcfon. cavr-.l:~i-6~. [unf'liunsl nor Iusread uf opprf'55.'nloring.'~6J:_5~.::f&LJ~ Iir§~ L. 1 envision orgnnJo.. or . ·JilJ.:t'd in I he. ~~' ~ L -c cr)..hile a cave CH..t. IWl rU[14..m~ hal encourages people [0 seek a Spl""ctrurn nf tlpporllJniues.'l"-->l':i~' <.::. IjU.lBcffl.ciy a nest.o origins 01 a "l'\esl" and a ··CaV(\~' As a lunClinnaJ. 1'.i.c. :::J/l._'.lIl1m• • A1'.bemming t are'hitevnn-c of a C.

·1i50 I1j I - :d 1I' Mies ? ... BoO" Aria mit verschiedenen BWV988 Aria IM'·jT.....2 NOles without Staves· The New Geomelry Aria mit verschiedcnen Veranderungen BWV 988 johann 50b"". n Bach I68."" Sob"..O Veranderungen J 0 h...

n'l'-"J tci». ?JlljI.. Nt lJIJ ~ !J'mlMlt.frm:ti'¥ff L tl. 'J\lere nOL music and space always as such? Time.I-. On that. ~'. ineffably complex syslem lib rated Irom the anthropogenic Here.'li. and thus apace. OO~i':l. tl: rPlflolF IL 'iI ~#1i) 0.::_. as though by an order. activate th r..fj. {f I::U'Ii'flI! rPlw.'iM.r.Five staves divided The ubiquitous Baroque musical noration system.-c'v.n~ II.11.:: .. -. ? (1) I.:. e- ill unison.I:: I:: b f. established by measure" during ihe Period.hcrerofore . -f t 'ti.ljjIr.:: / .~.t.::{Tf!fnlI1:1:>m'bn?i. th sound a nd rime wert' synchronically space and objt~Cl-~esonate r -m 1i)"( 1\liJJjIJ G) Il.t"l!'<.A 5 i!q) tJ:II'i~g~a-m-II'<: }j. This was the Modcrrrisr remporaliry and sparialiry Dr-aw the notes without sraves.p Gm!J!l:2' nit. ~Mlflfr.::lit.I:'j}-'NiliiItJJh£tlft L -rvT Iv' 0 e uur sounds and activities.l'H.'I:::lfJIt~F. g. .{o:!' III musical notation. 'to')J:IL~1tJ)I:t ilif1:(]JlI. Notes emerged 7 T:- . signified the absolu reti me and a homogenous time is unidirectionally we superimpo space.l'/lf'/&!.-n'6" 2: ~:L5j. 28 29 .: jjlr.ijD~<iJm{I::C'ftt. is comprised or various relationships.if<£! i:: It. II'. -cr. t.'l tj:.. 't L .6.. i'. ii~(7)~LH')I. cw order or architecture 15 emerging.'j' I. 1:1 ~r"'1i:: t (]J t: i'. the undercurrent between 110te'S Ato{J9tlMt. 1I#!If!f. --:>j.J Q. of Mies vall der Rche. 'ff 1::.::_(]JalfilITlr. 5 . !lows of tndcpcndenr rimes. II.r-. 1t(1)~'1:: (]J1Ul~G)tJ: n' I.fM! I::-e J1.r-6. :.n Ii t:. ~ -::1 It • <. flowing.lHlfi. The interactions unirnaginnblc rnuhidirecuonal bur-n.frn~D\iifEtt.. of time ceases tu exist.f¥:a--N~. .~r.::~:t:l1-.H"~ I'. i:: + 0) II'? t (7)<'Ii t.:I. lJ@r.'Hll.lz:Ltr."'(v'~.


i!.5.'I[pan.: 0 -t f.- '7 'T-.::. A.. s :."Pi'\f"("..H.t \.advent DJSL:lI1n: predicated of rnof:!i or walls. ...i: t.."..t\>\.'5 fi~ )1 Wi I.'n't. -3 J. 'j. a.tUHC' T]] ..I.t"i!."lS..'I~". . and iruounrions. IiliIh'lil' 0 f+n..f. t.t'!.? iii"' ftt1:-:: {.: ~.. .l:iJ'(:.~l"!s\.(J).J:.~1)¥nillG)JJbl 'J.iIJ -f:~)ffi~![i(f)Itl1{R:U)t..rhr.'l:IF)!1' -1 :. nJiit:l1.r1::I. ').t~.:..f:.I· '*-..lVddalinn5.. in reractiuns sf" People r-an discover place-s for habitauon rnd-nccs of .3 Separation and Connsctlon r~Fo!) /.!::: I:1A !::A.·j1· I) 11:l-t-. tt...10..r'~~ -r!i:I!"" !:: l:t)~ AliltutL:Y>~)J~fflKJMi1 "Space I' Rclmionships.~ c-. ~? t: /.:i::~\>'t. liI!~(/)P6:t~H:I. ~:mi>n.!:::b I7)(J)Mf~tt"("b').'. rhus.!:'tmil'. 1\~-CU:ill '? -r L-' 0 • "n' < • L -CV' c..!!. only Lilt:' var-ious rnodulauons UIC degrees: of inte ractious spatial cxpressious LlmDllgSI of distances persons anrl OtJjCf.ijj.J.. h('l'l1 origin ol architecture must have constituted purrl) of "dlstanr s..!:: t 17). ~B~~. by propinquity ad iufiunum in wlth motion.tJ1E~lil.tt.t~r"'u. C'.Jllt$il...' wcrr rrcognizcd Fur befort." Architecture Tb is tn generate various senses f)f drstanr-cs. I.: Iiil!lfftf'J:-c <c.re enriched by diverse qualirics r Unc carr he alienutccl and vet ronnccred. C 1:.t: rll!OO!~J t~ftiJ't?·:>1tl::J1r. ~+1:!t.:Iit'::> 'n'?i 1t'h "~\0.': I:Ut!Jil~!\i.-cv)j!~.~~Il>t. -c v'. Associations are solely indicated transformed Close and yet separate .'I. ~"?~*-IV'!':'E :ttJ. the prolcund of potr-nn al uf .L -c ""ilJr¥l~t'f.


I"rJ erect a '.111 IS to bisect a spa(": aHO 0 and I ."'.

HuuM" (l .

._--.~.. house uudc.~U_J~_Y...i. ~'~"~ Inlb·"g.==::=..fF.. I " . Ii\'J.3[O[[~2l!..'):. t ~1!_ ~ d l V = --.~~i.-.~~iftlcpn:.\ I I \ ~======~ 1i IPP. ._.ijltt=.1_ \ \ I i Thi'51S II nOL a holEe. rat~ 3 . ~.z: l:i'!PI . andasc. I.la~"'~ 'iC':HS hide: open-spares: i \ opposite ol~e-'ail(}ih~..ml-i~"'I. .---- --- p " 'v V ..h'5J. z..::J .:.\ t.r I \ I I i i l__ ~. 1 I I ..c..--. Tl \ I I \ 'I n T ·r.1'}... r..::.ti L._.iF . ..* i-z'L I q ...ndillg mound \-===:._0> f\ l ~ "" III - 11)"" I .. '" .--'''\iJ \ *'. -"'- _I:.. .-"hrpforrrg_mdry.:-r."~'.rg:Jug Lut:taIIlOrpho:....::."("~tI.._...1r.y -t 'I . \ I &- I .5~s.i_ ...\f. :::=.3~f)[.1:%1=1._--Q. I \ ~!... .!iI-ffitlt&. " ~~-j -.- ---1 I..J.uiuus.'U'~"" ~1 To rl' .-.t L ~H)IHlr "'. t·) 1 I I I 1)'1)':0 < 1.l.-'of.' "".----l " .. th~~J:")__\lRriEf). ~.. platt\' LO I I I i 1 In these craggy ~nn .:±.

t··- .l!t:d Llml. mlluh..! • M-ot.t \' ~. CUIHlC"C'u·cI .l.'.':.LI1e'OLI.llli l)I"ilL~ a wull ulu-rnuu-» in n-crprocal H.fijl --.U LII ...LlI ~l:-::r.1 wull.. -..J.hlnll~II.~-::}. lt'J.:J" -.111I L .!: 1!\'!i!tit!111:'K_fl:i'~.t-.::"~ \ ~.t."I '--cI"iH.\-I:il.md vet not Thr "wlr:liLinll rll 111~irLga "'..~IV JI!Jt'II~..::__l_\ w~111...

'"\place or manifold rmeractions Span'~ aft" s.l\ "cry simple architectural plan ill created hy a single line. :\1\ morns are imerdependern- .rime.ll the sallie. .cpal'aled and rnnnec-te d .

:i ~I ..?'minL':' t:...\.f rc Ilf .n.rrn-.fd"t .~ ..._ I .lrf ill "b14 11 v.jbOlr.I) r....uul .~p('lltlt::lldv sumulatc nn.:..][I I':ln~l~l' rn v..rn l Ht'-. "I'l" .n.HT .c:!: I".where 1JII rl pt'oph' (..~\ 9 dL[[1{'ILSLLJIL Likr. n. 11g. \ IfilliSh oj 11Um'-_ latcd IlJiLlr. ~t -. cy:~) t: .J1<!J./.iriuuplar-r. ..• fJ ~()rt~ i: .U~. . I..Ctrllrtn 11lll'I .... inl \.jfl "lIlM'lJh~r ~p.V.u-inus ~."\-\ .~ Ih~~ 1~~ PI( ..AU . \'..LIIII 0.'J'V illl-.i1l ht· . h t: .. .1.I~ .'1.W lIrh. 1 on( I II finite spatial \\'llh cverv ~\t'PI n-alivrd wuhin Ih~'miul 1114-1\111:. md m-v ~"'BI r.. 1t!i L L 'i!li\ aiv"t.!It:-.bll'IIJ:5 f.. T IlflIL~C' .\ '11U. ~ .uhe-r. 11Ir-r ll..

s<Jm. oj fj.l-Wlt·. rn"l>l''If~[.~!f) t: t 'j L:' tL~.r.1:15'(1) J_ .:H':1t." .nh'ib)y. tl"'~ (tm~.? nl nrr-hhecture c.<I?. For example • sornr small r-iucs have dt·vdopt:d as au e rraric.'.lll) as i~.a.. Streets ~bgn~d... TT'~ fl.'. The Cill is anjrnntr d by motley or winding "reel. l'Il:¢1U.t-C'd interdependencies. -C:lif>*C' b t.. " .::(£t: C~ "J"'( ''l.t~ ~#Ue:I': .*lH~aiJ!l~l~tfft)I. t.S8L1.hin each .1 riry and equally a place like someonc's home...A 7-/1..Il houses j comprise designed a differc .1:: '!IIlmilIAh-Fl: Id:-:.ellt-1r1. + L. .. .--'.t..1 hav whose progntms..:::9}il!. r!lJ~! I) < tJ-~t.t < *C' «.ge~ thai manifested [nro r-omplcx sireetscapes and prodlLcetl delightful nested ". '? TIl!. ~ LTrJ).. Or small scales..l.['·ll1l<7) J:: L"~fI.:t H. :mi1t~IMl~t'Eill~ ~ h~T7' V ~ or f ijtl:i:1*..1y bCCOllJ(':S the rules of fUllctlonruis. ~.\':<')!'t:crt l\> v' ~. and simultaneously nur n house.t.::.. l +<7) C: ~. l$5t"~l\tIli. ff'l.~~~~.·b~ t? tr:.House as City Ui s !ip.:c I±fiJ~t..t~\wr 1. C 1 4B 11 h 1 • .:. tH!': t II)Xi.k~D~OO*h~mM~t~o~~rJ)~ffig~~~~.@~I:!:.>1Hr...uf a [rar'tlOn L~menumg 1ess.4t--:/:1 ~.:fl'fnrJ){t~$~/I'(: < --.1ln.-:t~.L. m::c':!i. .'t.. t.S 1 Tokyo i~. t". ~ c-tllrtrl¥Jt.1'(tt.m.4 City as House .tlt1:m~r.t analysis.W" c v' .z -s ft.. i WOOdt'.:itri1{lgr. other. IIIis primitive of sophi.: I) .9 .o:t 1~t!!~rI::T. iIl.:" li*rJ)t1C~ t:.ll~._t---j'. extension or a durnr-suc space Or p3. Can architcrturul t:'xprr's:iiom: uphold to the intricacies of d .~iUlled Lht dual~L)' of rcsidenna] r-nmfnrtahili tv und I' cily-like rnultipliciw.l the moment ncnht"t a ("U)' a nouw.1'lli("~J. [i.::':s Wrn-C'ib ~ IFlJIIi\':':::.. t)l'!'" of domestic space. dg3ms:.-..-.a dry and a house bcramr Microscopic .. th small. ulv-Iivcs Instead of confurming Then: will be a new emergence when a C. ti. rn numerous psychiatdc renters .


:1" f:r1~ ('<-< .~ r '" 1...lI~h) ~ f1.'"t~-"".< :P 1-7~. ." ... __ I * 11.~h*...':....-1>':7AM'·h>'-1' ."1 cf..-z.

.•• .I / i.:_.-fij~1 jj I !---=f .. . I I living area 1 I multipurpose space staff room ..:: " Jrt 7'.'T .11-0 t> I..

J:? .I J " rr ./ .

"0 .


..6 rJ <. I) .Iv~"Ef"l.:.luy h.!: jPl L -I> _Z. {.~.~1 Nrt r •• ~ ~~~~~~.'t_l Idl)"(. i.rr)~'t·Tl1i.~ .iHllJw~nr-w i1 pi jLW I If iL' pial c. l:::if[\ d.~~_~~~ 'I.LV rve.?W.I'j:i..~~~. IM-\""::'.' :_ !:: ("('"d('Jiuing vach-nther diml.:_4ul_ -j-'.ULt:rill~ il~ uwn dr·mILJC~ dn r-ctiounlny: hv networks n:-·!ml1mg- 67 .lJ tLdL L If- From t 1"111("\ rC'9_PC"CllVf" 111iI nch mar pl)~LlIOJJ~ as 41r C][[(~ Ill..cal itjt. <l) ~ "C~!i:j1· -(-~ '5 IM-.~ Ihi~ p."l. (]j [n~{":o.l(jp wnih lon-srs mIT1H'I 'lab: the evolution 1'1"1ipl'. ~ \111HiJi.t. Wi L ~U{t~ l: -.. The va nr.::]I cd ~hree-du rnrL'(C' LIr-nsionul d~_l!llt:S1 IJ('"1 'VtJ rk JI. t armed hv imcr n-lnrionships nnd EiJ-L~\.i..~.. lm .UI("!I~'~ d("\r."lit oI. ay tJ urn vn-w. r~_ i-.{ti1Fi::ft~S!'. dnol h~r '~PI]!::'i1r al' ..: . llr.~ [t~[r:'~h.t and allv .iiU: '.

" t.iJ..~ n nnlque pllU-~ rind l~l)\n1)1htl'..Ll :. F.-p.H:':t-t:t~t'"tttp. hl..NLLnLf'T1Jll!'.u'::lf w ILh Firul sp.IlH:hl~ Tlu-v In "oIIII'IJL.)6Il1l\.ff·M~ !<q.9lt 'il!'t in1I"rn"l.·w'jlk nf r)1 ~ntf'r-.:"l.l3l1mf.l(tl!.tlo1.rnf jllttq'im~ from hranrhcs..t. t:t1f. f}.l Ihe Ill'.lIJlni~"'lull~ I [I LJ II! t.lI1i1111~ ruther th an :nna:~ uru bnm ch I.?"CL'fJ. 1'llllIIJf...~lh brnnr h . .iI!>l>C'l.ill 1!11\t·nll:l.. ~.. sa .UT..J>t.>'i'" r ~-?'=11'ic1lil.t(i:( T!IHIlI1~T~.i!''. :"tlil.! ~bb.!'I.runl 1'.

dcd lor humane.:..J:_I·I'-c(i'-> 'f'-'iHt Vn11c.\JJ·t':'} f\1~i.-(ll11lf'lj. aud IlaH-JH'~s L~ uu iH[Hn(. -. -'J't '-"1Jl1 Hall-m.ss is sc..t'I.:t.dl the cUll\['nlinn~lll""'i~bl 1.--. Irs A. z . n "ani' nm-.V. }. 'k!:tct~ -tiLI'J~-I».rcm=-!::.J). -c'.f'. lurtu..:-It!lIJ--r:.Ip Ij~'IWt'~'lIlli}lhmg aue] rl·I-.·."'.l"-·f·~ h. fi~un'.1 ih .r:n(7)f~l i ~llJ1:.-~ 'I "-- \Idir( dl(_·UIUul. 't lif' ~a[J rtxcl!' r·on.I'Ii..l'film.'-c 1'7111 t: -.. I.p.. ..'ful:. -ln ~ l h~~411111~t II II l.I..:.{..~"l_~pi_KT --]{~ D Si D iT*..\ ~.:tc. 70 71 ..'.' ~F"I~flih." J L4nl'lUlu'L'~ ... I~Tal::tt'b .lh (I Irl 1m .t- -5 d:..

walls ancl noiting s .Flu4)r~. ... hut like ll\>-In2"m a nun.\ house'..'\[. It is..He .. puuctuatr-cl ll hy 1.. holes.

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prujcd..» c!< l.{ OJ. 11 i- O'\:'oi if 1i\ ing srnnll rnnuru.=' (J. ~001 lilt W5 .: IU. wall. tlP"~/.'. Uno walks un 111('~rOLJlld nrnl IS. ~~X-_l~ '. .':j --. ~ C.irl~ un IH1 ... -c.'i.ll!!tm~· ~~.~\< .\alk.~. ~ :. ~-c L '~j . soon un-xplicabl ..un HIjIJ~t"I. ' :5 J_ t.. 1...

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. " .

. Natural Architecture: Dialogue Summary M cdiarbr-qur-" (2000) rrcare an inverse condition of I.cl. Likewise.Artificial Architecture. wh en ~pac~ is inverted. SUM1KA projeei by Tokyo Ga. but in t:l". (2007-D8) exterio r of "architccrure. adds that Fujimori subconscious transformamm the othe r han d. "Chapcllc during Irom lhe onset.<D1J CI iisel f to as [em poral effects ace urnula tc an d by th e introduced in Bernard th"l Fujirnori states iha . In lto and like-minded medium. em "rging. envelop glass.c Corbusier's HMaisun Domino.H .g im ali allegorizes rha [ by consuming a poi son 0 r self"oneself" differem and .f5. (1952) shiftedto Fujimoto consequence iruerioriry envision of systemaric and exterioriry inversion.: creation thai does not as a blurs to As a student. and education in Tokyo where a sense "". college wooden house. if contemporaries can gel1e<"l~ architecture. especially (2003) intonation in the wi nnillg [pp. Ly by extending ihe corporeal sensorial boundaries..4.. and comidtred between til. "House House". lie discovered Terunobu Fqjirnori points out the similarities between Ronchamp and Fujimoto's of <\ meters.1. 47J . Fuj iruori respond. Fujimoto propose. work. For their architecture landscape. Fujimoto's Expansion attempts Notre-Darnc-du-Haut cit Roncharnp' solidity such infinite outward can be seen in works web as w s transfixed a it evoked by the sculptural or Roncharnp.. Iike a mo Wl n [pp.lI0.d [ Tokyo when he began hi.. this reason. an d was moved compulsion as if wi messing th ~ gen esis of matter moved to iI>.4-4. youth.y "city" -LJ ke exterior Energetic of interiori or external the confinemeru rain ous landscape. and the way between a sense of an enigmatic presence space crea led by this strange Fujimoto.Uing sr-parntion natural urbanism as a totality". architecture ArciliteelJ. chi.6J proposal for "Annab (2005) Art Forum [pp. .. When clear looking at the plan of Roncharnp at a height is obscured shares "I' "d".n Slate or nuncity." N aiurally. ill the . and ciry i~Aue"ce. of his earlier the latticed ". of "architerture without Ito responds positively to Fujimoto's is because strength architects" is rha and therefore l IL Iills the <1 arural recognizes sirnllar underlying' motives toward architecture.hus deriving pleasure in identifying 137 . negation of rigid insida/nutside hierarchy. the first architect inversion wag Toy" in J"-pal' io address the idea [ha( the he involvement Rudofsky's Ihe of numerous hand" such as those of architectural reason Ito."t willwut . "Shimosuwa Suwako Museum work.Meri or become architects [0 the ex teri or. columnar Akahiko Memorial ave" myriads of time.'.. resemble a n alural COD. Living by mass.l (1964). 1. towards by convoluuons tendenry or vertical Fujimoto'.use in Nakanorubes 01" "Sendai j. wlio camp from a gridded ciry in Hokkaido. ca pable of transforming which is in dubi tab Iy an artif cial co nstruct. He also analyze." the admiration (1955). Fujimoto questions F uj imoto " procli vi ty lies not ill the legitim izati on of sin uous Iorrns.1. the artificial perspective before and architectun- and me (he delineation or the interior surfaces." pT'OlC1. and exterior work phenomena" io be one of his ideals. This his arch] iecture...ITow alleys intermingled.". of the rna ss es of buill form is accomplished the Ito'.. On Hall" (1993) is an inversion Honrnachi" (1976). Sl'U Fujimoto was interested in Le Corbusiec he was awestruck "While in require a "wrapping.. while Fujimoto's hi. an immaterial imply a cnruinuous of architecture lto's con trasi.. importance ner essi Lie." Fujirnori distinguishes architecture architecture recent by "Ul1ite' d'Habiiation bis recent trip to France in Marseille. or enaSS bo r n c fro m 'pace:.I. 11'2-1 13J is less an Competition" and "T Home" wall disengages and characterized j.

color. he is able to manifest Furth erm ore.than "others. "People respond simulate to the surface of things." He w ants W see "archircc rurc" Iibera ted. a. The shakuhachi hUL lhal carne into existence ..1 artifice.:zillg through blown 10 grove.ing . 1"ujimori: contend. and rexrure is a key" To this.' selection of' '1 am 010 derived. The sense of 'pac. works becoming "architecture. haY<' all witnessed connected in our childhood. and re to [11<' ollcruvc c and shared subconsciousness experiences witbin as iL is constaruly a society infbrmerl asserts towards rcrnporality" by numerous Fujimori thai Fujimoto will thrive as-long a.. embryonic Til Fujirnori's Fujimoto gcnnating subconsciousness. highly metamorphosing into a humanbeing.utiirr. by recounting a vignette. Fujin1()ri say" "1 believe thai there is . icit-al architecrurc inquiry about responded III aster b~ rootless such an complexi ties are still recognized a nd garden-like."~imo'o hyPOlJ1C5ilKS that by the rollective far Psychiatric rbe precisely rubes were projects hi.. To this." contemporaries lilLs sense of subliminal certain sop histicared have diminished their ability to form "nature With altered b)' human this. becoming It also consists of dearly man-made materials..<l. becoming platitudinous "architecture. that the individual •'Tu ru Tak emitsu once as ked his bamboo Rule..." H~ adds that this rom. it was nt. with the vivacity wandering .. Categorical 0r artificiality of its dco\gll generated thro ugh a jungle. into nature 3. 10 actualize 'Lhc !orming 01' obiects. ihzu il was the sound of the wind is an artificial oLjcct Fujimoto of things" believe." developed con dition of naturalness. '\Vlml would or th e shaku h ~chi. Flljimoto disdains lei." Thai is to say... YOI'm. he senses his idea. Fujimoto hand" is epitomized hy J~pancs~ [Q garderu. F.vjcy. if to imagine" Fl\jimori prublcrnatizcs the methodology being rnetamorphosing <end rla.WCr a long period by a human the' master believed that it was possible lime. most sensitively Ihe He suggests.!. Fujimoto of temporal aflects 011 COUnI". oollecri.hal Waller Gropius the architectural basis of the twentieth and time. In order to vigorously La. as an example. this ubiquitous as na CUre an d tern porali ty Were r .1urc used to obtain (his. recreate an analogical human rnomeru.. ~ vertical produced plan also give. Fujimoto "architecture" i( expanded the potential of 3. that people can feel a certain sense of "the of instrument?' His master responded a bamboo being. ely discussed r in twcn tie th ce n tury architectural epitomized theory Consequen ~y.sk surfaces.28-31. l\1]'T" (2004). that materiality and texture as well and causalawareness in his architecture. an impression be the most ideal sound by this placed spontaneously However. he was indill"rcl1l to issues uf nature idea of competing wi th d me and its simulation o:rigi nates from his realizarion of those fundarnerual flaws in Modernist ideology Likewise.ly. I . is Gum soroething we arc materials.-Il". Fujimoto's century. Rehabilitation" configured Taking his "Ohildrcn's 50-55] Center arehiu-cture. are congml led as ihev are red uced LO unrel aied theories within the profession. In frank 0. {2006) [pp. I find I hat to lie extraordinary. Ceh ry 's "S tala sensed that Center.'. derived from memory less interest ed in the mimicry in formulating r.a primordial form Irorn which things art' passing or li me.

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