MAD E. .

I
MOMOYO KAIJIMA
JUNZO KURODA
YOSHIHARU TSUKAMOTO
' ' ' ., '
' ' ' ' ,, ' '
' ,, '• ' ' ; ' '•'
' ',, ' '' ' '' '
' ' ' ' ' ' '•' ' ''' ''•' '' ,'' ' ',,'''•
,,
' ' '' ,' '•''
': ,' '' ,' ' ''
'• ''' ,' '•
''

/
 CONTENTS
~ iX

oo1 r.)( 1t:. 1 / . "- .:f 3- J 47 ~)l.lfn~lll 7-J.. . ;<1'f:·1'/ . ~ - '\'3 - ' 96 Architecture

•* <1)
INTRODUCTION
16 ifi ~ r.o t •• 040
.)( 11'. 1 /. 1- _ .:f 3 _:
22 1.l±J71~-~
sand apartment house

23 li!i!~J~17Jv
vampire park

48 71.---/t.:t.t
crane shelves
TEAM MADE tN TOKYO of the Year

.1'1 J,i;'t it Momoyo Kaijima

delivery spiral 2001 ~ EB~.=. Junzo Kuroda

jj 11'7' ·;;., 49 ::z.-v1·Jv · 7 J>7 ~ 1 J­
.1'1 .I~ it Mom oyo Kaijima i!Jilijj U Tsutom u Fuji oka
ghost ra il factory
018 ;t11'·1/·l--.:f3-(1)1)i;t MADE IN TOKYO: bath tour building
.!lEEil!ll= Junzo Kuro da ~!f~$ Yasuhiro Kuno
GUIDE BOOK 25 ?7:.--t::Jv 50 1!111&</:.-3;...
METHOD li* El311l Yoshiharu Tsukamoto
taxi building
retaining wall apartments ~~~- Akio YasUmori
51 '1 1 h:J/\ <j~ ~!f~ J1;; Yasuhiro Kuno *f*l~$ Yasushi Ouchi
··::J-~ 26 ~7 ·;~ 7:$1'7-

021 .)( 11' ·1 /. 1-- .:f 3- ~ warehouse cour t t ruck to we r

bridge home

52 ~!Utl.ll
iii* ji! Shun Takagi ~ jf i! Hirom ichi Yanagi
:Jt.:t.Q10(1).:f-?-l' 2 Iv7~'h 7H-I)-- :J~
electric passage
27 1/:$1-::J-~
interchange court
residential farm < 1) :tJ • *') ~ ~ :1 =- Marika Neustupny ~*~jC'f Yuklko Arak i

10 KEY WORDS 53 ~))ft1/:$1-"f-I/:J li.l!.lf~ Ale Shiomi

3 I\1QI1TI~-~ 28 GST'~:1v ·;~ 7~ nmp 2000
d is persal terminal ( Web si te English version ) v · ~-Jv ·/ ~1~/ les Sa>urs Papin
highway de p artment store double layer petrol stat ion

29 ~-H- · :h-·~7-Jv
54 01'\"Jv:::fJv7</ :.-3;... .1'1 ,Iii, i;'t it Momoyo Kaijima 7') ~ ~ 7 · :,'I' Jv Jv Christo ph Char!••
4 :.-*7 'h:l
ci ne -b r idg e super car sc hool
55
royal golf apartments

:h--f71'~
< IJ :h · *') ~ ~ :1 =- Marika Neustupny li* El31111 Yoshiharu Tsukamoto
5 :li·;~ ~::J-~?-1::-Jv 3o r*::J-~ .!lEEil!ll= Junzo Kuroda
car parking office
roller co aster building se wag e courts l!!lltli1J
56 "/ )-/H-"r /'1
1 ~ !f ~ Aklra Yasuno correspondents
6 *-t/I::Jv 31 J:*::J -~
182 ii!! (B)
MAP
neon building supply wat er cou rt s
green parking

;t-~7'1~-~
i!i* 1i! Shun Takagi 28 Ell D IIIJ'f Yoko Taguch i

7 '~7-/::J:h7-t:7Jv 32 &ilU3
57
auto department store
li* EEI!l Yoshiharu Tsukamoto 31 !.li.l!.lf~ Rie Shiomi
pa c h i nk o c athedral graveyard tunnel
'**~!H~T Yumiko Haruki 32 <P '§- • Go Nakatani
7J>>.v~ 35?.ill'l
1 84 * / . . ? ::h ~ t <1) t-t g
a i! ·;~ 7~1::Jv
se x bu i lding
33 J7 ;LIJI~<fl~
amey oko fly i ng temple
58
farnlly restaurant triplets :tlim!"'l'lil£ Tomio Ogiwara 33 Jj\)11 - }._ Kazuto Ogawa

TALK WITH 34 i(fif.Siilt 59 ·~?'7;... ~/...·'11'/i!/~ Tom Vinc ent 34 *5! jE E2 Masaomi Yonezu
9 :h7-f?-*7-Jv vegetable town
karaoke hotel shopping wall / mall .U M:
TAKASHI HOMMA ji )$: T Junko Tachibana 35 ~ Takeshi Goshima
60 ~ :if li!! L-- -Jvi::J v
10 '!Ull~,~~o-Jvi::Jv 35 v-Jv>.~ - :J l" J... ~$iili:l!l Naoki Ab e 36 UJ D EE ~ T Yumiko Yamaguchi
sp r outing building
expressway patrol bu il ding ra i l museum
188 ~Q. 61 TRC ( J[Jli))fti!i!/9- ) jJiJt~rul Jlro lio 37 :SJII*.m Daisuke Tanigawa
11 *~!ii::Jv 36 '/1/ 'f*fill~ tokyo dispersal centre
HISTORY embassies bu ildin g tw i n de luxe se werag e gardens ll )!f }._ Hlroto Sakai 38 32' *t'l't: Takanorl Kasal
62 ~;t!ffitl!!i::Jv Jj\ JII. jj]
12 ~~-7onH-7 37 ltl!i~7111'-I::Jv ~!fl!iil!'f Et suko Sano 39 Takas hi Ogawa
cool room estate
park on park pr olife rat ing water slides
40 Jj\!f Ell ll11 Tamaki Onoda
189 • Ill 13 H~!ffi!l!! 38 Jlli\;f "'(1) ~7
63 ~·;J~it ~1-l5c nmp 98
pet architecture 001 ( W eb site Japanese versi on ) 41 iilill18 - rul Shlnichiro Urahashi
PROFILE bu s housing ventilator obelisk

39 (RO)*-.L. 64 11'.1.</:.-3;... .I'! .I~ it Momoyo Kaij ima 43 *li!G'II'f Yuko Oonari
14 :::fJt-7?'7:.--t::Jv

190 •a golf taxi building

15 ~::J /J7H-~ 40
apar t ment station

J...:hT'tt~
dam housing

65 :l'l'/7:.-:..;... ?->.:t-Jv
a1rpo rt Junction
,!l Ell i1!1J =
~ !f ~ Akira Yasuno
Junzo Kuroda 44
45
JIIJ:iE~ Masamichi Kawakami

~:SJII • Go Hasegwa
· BIBLIOGRAPHY nama -con apart ment house

16 :h-?'7-
ce nt ipe de housing

41 tn.b•t::v ·;~:J
66 ~;f--•;Jj'IJ.:J:J iii* ii! Shun Takag i 46 ~llijj*lJI Daiju Nagaoka

ca r to wer vehic ular village

sports bridge li* EEI!II Yoshlharu Tsukamoto 50 <P :S~L)._ Rhenin Nakatani
67 ~;f--':1?/ · ~' ­
17 ~J7H-~ 42 11'11::/'1?'7- '**~~T Yumiko Haruki
sportsman zoo
ho r se apartment house diving tower
:t)(~'l'lil£ Tom lo Ogiwara
18 ~)Jt::J;...:t~.-- .;/ 7~ 43 :.-'1' -:.--< ;...:,3;... 68 -"')••
heli-warehouse ~.1.·'11'/i!/~ Tom Vincent
distr i bution comp le x chassis apartments

19 ~fti::Jv 69 ilt- 7-7~ ji if. T Junko Tachibana

44 TTT ( v:::f · -f71'~ )
air -co n building carwash terrace
TTT (lego office) ~$ill!! Naoki Abe

20 lt'i!f<;... :.-3;... 45 ~/*W/IIIU ~--ti graveyard

70 shooting iJiJt;xaJI Jiro lio
billboard apartment house tunnel sh r ine
ll )!f }._ Hiroto Sakai
21 ~Ui::Jv 46 ? /:,3;..- llJ~
shrine building apartment mounta1n temple ~!fl!iil!'f Elsuko Sano
 -+j - .1'( 1m!Pi3
9H!l !Jti rr, ~~ 1:: 3 - Cb H >i t: tJ• €dliliU:: ~ ·:>r ( ~ c , N;
~~~~ftc ~~ ~•• -r ~ s ~~ ~ -~ ~~c. ~ ~ ~ 1991 ~. flU~ 1.-to ll:il!! ~/~ ·;~ 7' -(;... ?' i! ;... :9-~ll~ "F ~ ~ ~IY-.l ~&4W~~ttk~IJ:.~~~Y-J>i m •~~~·m
~ij~~~~~•<~cwa ~ . ~ ~~ ~ ~t • •~~w
• UJ•*~~ ~ ..,n· ~~ H•It i!i ~* i!§ ~ :g~ ~~ !Sti fo1lr., 1:. 7. H'f71 ~~ •~ ~·llS~tJ<~ t-i6 ~ tt to .1:? t.t ~~ OOhtt ~~ c t..:<. ~ m=~•7o?'~k•~ • #~
;iE -,toll. ;f;J!~~tJ'JII~ ~ ~::? n ~ .I: ? 1::~ T;; tt to ll,
~.-.~~~· ~ ~~>ic~ w~ ~k-s t~~ ~ • m •s* il~f.lt? lt to 0 /~ ·;~ 7 -(/?' i! /:9- t . 7.1~'171~ ~~ ~ t..: M >Ot~*~~~~~~~•-,k . & 41J:~~c
6 ~~-r~~~~~ ~ ~~M ~ ~ - W~ W-,kij , tt ~•
~ ';!; !ll!l: te t ;J< .l'> n' ~ . -t tt li ~-,to <iE ~.-~' 1.- ~·~ t.t ~ t. Jli:ilf~IJ: ~IJW::ij:l.-~> t ~~lif.>~•tJ<, -t tt <;tJ<Vc? fU H i6ci'.>T -t tt €> f r:9' ~ ii~J c p;ji~t. ~~·to . -t tt €>~
~ cjl l:: :f 1~7fU!'II~::k! >iil tJ<N; -,k I) T~ ~ ~~ >i ~·
c t.:tJ<, V c ?ll\ l:t.t ~ ~ c IJ<N;~ . -ttt €> 1::.1:-,T*Il:JL: T €> l:tc ~t-c l~~· t.>l9>~l!li:g ~~~~~. ~t-<t..:~· . t.: tJ•s . ~
1 :,~ ·;~ ~r- :; ~ tt -r ~· ~~ c l:li%!11Y-.l t..ru! llJltJ<N; ~h it
tJ•. 3 - 0 ·:~ t~~1; ~ «s m ~ l~. :H.: I:: iii!1Uc~~ ~ ~ ~
tttdillifi ll tJ•S .~t~ c. ~~ iS m li , 11!! • -tr.: !fillifili ~t.t~• ~IHn• . ~~ ~~~~ ·:~ 7 1 / ?'tJ<)! IJ ~ IoJ tJ>~>~*71~ tt ~ ~ I:!' c It- c ~~:>l:{ t ~ cp ~If filii ~ tt T ~ 1.1: tJ• -:J to. C
-,n•-r . ~~~*lf~ fUtttJ•s h tt lilli f"l: fU tt n·~c
~~l::ll httn· ~ .t? I:IIJ1! ~ ~~•~ . JE :7C I:ifc~~.>t.t«s m t~Y-.JI:#-1~ tn? ~ cl::>i ~ ~c •· t< ·:~ 7 -( :..- ?'~ ­ ~ \? .1: I ) • • N; ~ \? -~'? 1:: >i.., '5 •1>' ~ c ~ \? . 6~ T "'!
li~•:t>i~• . -t tt i:Mt-T, *Jlfi:: A ~IJ' c!t.c~~~tJ<,
m•t-n·~st.t~·~t.ts . ~lllst-~· :g ~~~=tet;J<c~~.> ~ ~ ifiitt t-toA c 1: 7- t ~'f ·:~ 7- 1 ~~ jt -tJ<~! ~c ~·? ifiJ• M*c~ttTik . t-~t- R <A~cV'c?~ H ~ij ~ W
~ ~3 0 - 4D 11'r., l :l/if"I;J;Hil~itJ;!II:: .1: -,T? < €> tt tot
ct i'Ht~ ~l!t ~ .lll, ~tii'r~c':t-n•t.tst.t~·~.-. ~~.-~· ~ <;t- !t~l::~·l't.\tJ<A~ct.lll.:t>i~• . llt ~~>i~tJ·, ~ A-,T , **~~~~~~~b•?lf~~~l!t-TU ~ T ~ ~
~l£tJ•IJ . -t?~•?itJ;!!f'l\'.1:, li'UUi>i!llli~*l!h%
lUit~!tf.t~ tt fJtl~~~~~itJ• IJ o -t?t.t~c . t.tM.:tJ• ~~>i~~.~~~--:Jli.-~?~~~~~~.~:9~~[.;. c l::llllt-T l;t , ~' tJ•>i ~ ~~~~~f'F £ .1: I) t~tt T ~' ~ C
h~·~~maw«sm-~t~tt~~c~>i-,k . ~~t->i~
~~~7' -f;f-f :..- t ~ 1::-'F.O:t~>i~ >?~St.t~ •t~I::All,;t T t..: ~· n• c ~·? 1'fU~ c. M -'¥ 1:• -, TT i!ii8 -t? c ~·?Jill All.httto . :fr ct-T~il~ctJ• , ~ct-<~il~b·?~
C tJ<!'f ~ tt ~ * * C ~· ?~ IJ:, ~·-,to~· c ?~>? liPJi >i ~
~.- ~ ?. -t ~t-t.t~c~lt<<t:m*t.t ~t-n·>i~ '"' t;""t.t~ •n•c ffl~ f /liJII;jl:~~\ to ~?~'?~I) mtt t.f ~·~il ff!j! -j ~·1JtJ<N; ~c T ~f.> €> li, ~ ttSI;t-t ~c'S Sl:t>~ T li:l:
/lill,;l/if"\:~~~j;!Tf Jll ~>T, 3 - 0 ·;~ H~l/if-1:1;§
0
tJ•?
~·?lli~•lnM'SI::t.t~ . 1.-tJ•t-, T ~l::*:ilf~iS m ~llllli~ ~IJ<~ ~I::*Jlft.: . -t~~ t;tJ<)j!j A>i~' .1: ?1::, li t;ci'.>T S>i~• . ~~·TKAii*f4cl-T~il~t.:.:S?tJ• . -t?~•
clt'f~q:;._it?c~.:S I ::! -rt-~-,to~tJ·?
?~•-,tdt~l::.t-,< .5 c~~.>s tt <~·~~t.:n•s. -t?~·? ~ ~ ~ttk ftOO~iS m ~T ~ .I:?~.~-~~-T~~c~t­ ? ~~~~~*Jlfl::.l: -, T!ll, ll}l ~ tt ~ b> ?.I: I) li, *JlrtJ< C
1.-tJ• !.-, 1'JilHII>i~ cl::, ¥€> 1.- li t;ci'H - JJJr., t !.- >i~•?
f~HT~ . "·~T~~ct•:t~r-:!~0? . ~ 9~· to . f ~1t-: · 1/ · ~- ~ 3 - Jb•? . **~:gt>i~·~ !t.>ic~.:S~f~ll!lT~ t ~~cm -, k . ~~S~ tt €>~
'51::-t !t.>iit~~tiiU T >i< t.hTi.- ~ ?.
~ IEl 1 JtlltJ•t.tWi-'l:~:tt.n•t.ts. h~h~** '::cc~ 9'JI>iil ~ t!IX• T ~"'7 - r.: 1 li, ~ ?!.- TM.I'>Stt to . ~~~ t#ic~~.><?>i ~·~~>~Hi. **~«sm~llll~~•n<
~ tt li ti-t .:s ~.-~·~ c ~lj: >i ~·~tJ· .
-:JlL' ~:i:i!ttJ<t.t~• . -t?:i;.t-T, $tl:~r.:toit~~~~ ;>¥ 1 J:: tJ<-,-r <~~~lit..~· tJ•t• A to . /lil t;ll!l:, !>.1:
A~it~~~T~~cf.AM.I'>k . $t~~"'k~M~t.t~ ?~il~~~~ £ 1£~ijf#;cl'.>~*·~~~~ti1t:~ ~ ?
~~~. ctJ·<~i4i. iii!t.CJI~~~tt~~c~$-~·~~«s m­ tJ< r.: 7. ~ i! ~ - 1: t..: -, T ~' to IJ<, -t ~ 1: l;t & 4 IJ< llll ~ ~ [.;
~~;tl(~ ~.- ;Y-- ~c 1.-T~ci'.>T h~~t.lll, ~ ·~~~~t.t~ •tJ•. T ~· ~ * * liti -,"( ~· >i tJ> -, to . -t ~ 1i 1 t: ~ ·;~ ? l;t ~ 9

The Appearan ce and

Changi ng our Surroundings into Resources Survey Beginnings Da-me Architecture
Disappearance of Shamelessness
If we return to our everyday architectural life, architectural
I'm often surprised when returning to Tokyo, especially, In 1991, we discovered a narrow spaghetti shop wrenched The buildings we were attracted to were ones giving a priority
magazines and university textbooks are filled with famous
when returning from Europe. Roads and trainlines run over mto the space under a baseba ll batting centre hanging from to stubborn honesty in response to their surroundi ngs and
works-east and west , old and new. Specialists, such as
buildings, expressways wind themselves over rivers, cars can a steep incline. Neither spaghetti shop nor batting centre are programmatic requirements , without insisting on
practitioners and critics find their criteria by looking at
drive up ramps to the rooftop of a 6 storey building, the huge unusual in Tokyo , but the packaging of the two together architectural aesthetic and form . We decided to call them
overseas examples and Japanese classics. This is correct and
volume of a golf practice net billows over a tiny residential cannot be explained rationally. Despite an apparent 'Da-me Architecture' (no-good architecture), with all our love
necessary, but the values woven by this situation judge this
district. Most major cities of Europe are still using buildings co nvenience in their unity, there is no necessity to hit and disdain. Most of them are anonymous bu il dings, not
city as consumed by disgusting buildings. But, If our
from previous centuries, and are not modernised in terms of baseballs towards the opposite hotel , sweat , and then eat at beautiful , and not accepted in architectural culture to date.
footsteps are actually embedded in such a pitiful urban
renewing actual building stock. By comparison, almost all a spaghetti shop. In addition , it is difficult to judge whether In fact, they are the sort of building which has been regarded
landscape, the idea of using·famous architecture as a criteria
buildings in Tokyo have been built within the last 30 or 40 th1s combination is a kind of amusement machine, or a as exactly what architecture should not become. But In
base seems to be just an attempt to express good taste .
years, utilising contemporary technologies. These strange <Jrchitecture. This building simultaneously invited a terms of observing the reality of Tokyo through building form.
Photographic books amplify a desire for an architectu re
technologies have formed a background to the appearance of feel1ng of suspiBion that it was pure nonsense , and they seem to us to be better than anything designed by
which simply can't be found in our surroundings. In such a
shameless spatial compositions and functional expectation in its joyful and willful energy. But we also felt architects. We thought that although these buildings are not
situation, then suddenly archi tectural design holds no
combinations, unthinkable in the traditional European city. how 'very Tokyo' are those buildings which accompany this explained by the city of Tokyo, they do explain what Tokyo is.
interest anymore; the future appears depressing. If we can 't
What is it about this city of Tokyo, which can allow such ambiguous feeling. Having been struck by how interest ing So, by collecting and al igning them , the nature of Tokyo's
try to turn 'disgusting' buildings into resources, then there is
unthinkable productions? How have we managed to arrive at they are, we set out to photograph them , just as though we urban space might become apparent. At that time there was
no reason to particularly stay in Tokyo. Surely we can start to
such a different place to European modernity despite being were visiting a foreign city for the first time . This is the a best selling guide book of Tokyo full of architect designed
think about how to take advantage of them , rather than
equipped with the same building technology? beginning of ' Made in Tokyo'. a survey of nameless and works, but it did not show the bare Tokyo which we felt. It
trying to run away. Shamelessness can become useful. So
But one week later, these sorts of questions disappear from strange buildings of this city. could n't answer the question of what kind of potentials are
let 's start by considering that these shameless buildings are
my mind, together with the feeling that something is wrong. in this place we are standing in? What can it mean to think
not collapsibl e into the concept of 'chaos', but are in fact an
about and design architecture which must stand beside da-
intricate reporting of the concrete urban situation.
ooa me architecture?

009
 f.:: "5 tJ< ~, ~JipJH.::, ~ A-ld:~t£11 tJ<Ii; ~ (J) tJ>/:. ~\? roh>l.::
1!!0~ << 11. T~>litJ' -:>f.:: .
f9'J(it~j(J)~l'. 11~1.::-:n>T~'"J-L., ~Ut"t~l:.li,
~(J)fi$~tf(J)fi$(J)H~·~~Uf9'~~7~~~~
L. t.::!!II~(J)itn,tJ< .;., ~. b>? (J)tJ< ;::1!)-tj-- A( ~ (J)j,li~Jt l'
s~ . ••(J)~8.t~s~ff:1J(it~J~;::(J)fi$1:.ll
~ f'"J- ~~ t:;... ~tJ<~:~; 11. < ~\~(J) l'li li~' tJ>, /:.f;\;4 li
'"f~t.:: . l't , f9'J(it~j(J):i£9tJ<!it;d.>tJ•i',!;t -, ~1JL.T
~\f.:: t> It l' 1;1: li ~ ' • ,II.U;(r,) li :il•itM' 1.:: .;., f.::
~~-~~L.~ . t(J)·~~~L.~(J)~.M-t~<US
(r,)ld: 'E 7 J~I.::J: -, Tfi$ ft~ ~ T L. :1: t> 1i ~' J: ?I.: T ~;::
l:.to -, t.:: . BO.!f-i"tl.::l;t:tJ:;t~~:iE~···~~'If-1.::,
fi$(J)~&~h(J)~·~J(~77-~L.~~~-~ifll~
~(J)i'Fc~l.:: t h "> 11. f.:: tJ<, t (J) J:? liB~!.: J: -, Tfi$ t
~~L.?~I:."t~·UI:.~~~~~~~ .., ~ . :I:~.B¥
(r,]ld:,m>.t(J)i.fltt•. iWi!iffUili!ii"\:(J)M.ltl:.~' -, f.::, ~~
~~(J)~J(-9~~T~:I:~t(J)t~t;d.>~">~H~L.li
~ .., ~ . ~~u~~~ifm~L.~~~~">(J)fim(J)•L.
h~~~-~L.??t,t;::~~~T~~~·~~·~~
Flatness
The starting hypothesis for the survey is that in any city, the
situation and value system of that city should be directly
reflected through unique buildings. In the case of Tokyo, we
suspect that da-me architecture contains hints to think
about the ci ty and architecture. However, the definition of
da -me arc hitecture was not necessar ily clear from the
beginning. We debated at length over each example as we
collected them. During these debates, we took care to not
think about the ci ty as a conceptual model. In the 1980s
there was a background of chaos affirming theory and
Tokyology, and the spatial expression of architectural works
displayed confusing urban landscape as a metaphor. We
strongly wanted to get away from the attitude that the city
can be summarised by metaphorical expression . Then again,
from the very start, we avoided considering examples which
can be read as stereo-typ ical images such as stylistic
ecclecticism and contrast between pre- and super- modern .
Although we agreed with the Institute of Street Observation 's
emphasis on pleasure, we felt uncomfortable wi th the
importance attached to modesty and wistfulness . We
decided to try to not work with nostalgia . The examples we
010
L. ~ l.::l;t~,L, ll!!(J)jj; ~ f l!li t; <~ ' f.:: IT) l'. l!liiii.::M ~~ t
(J)tmnld:~ .., ~ . ft.q(J)6tm~~(J)~.~(J)J:?~h
f.::"' J: ~ \ (J) tJ>J: < t> tJ>"' li ~ \= ~ \ (J) ltn, l' II; .., f.:: 0 t;:: l'.
~*I:.~~(J)M.ttfVI:.:I:f~H~"t~;::I:.~L.T.s
i',tJ> [; d.)-9-~ i', tJ. l ~\~if~· :tJ T :::f IJ- fl;j: f l,. TM!j_
fhJ:?I:.L.~ . -~(r,] / *~(r,].~ / -.~ / jj;,li;~
~>lill~ / ±*1:.~, -, t.::i&)lij ~~~ L.T, TA(T f 7 7
H.::hJ:?I:.L.t.:: . t?~>?Jl.~tJ< , ~.!!~{i\liiJ!il1iU;:(J)
e*li•~ < ~~ D J(7~::t:.- l c>s~••(J)fim~~(J)
~n' ">;J<d.>;; n < ~'~J:? 1.::~nn t.:: .
;::(J)·~~.~- . ~&I:.BgL.T~~L.Thtt~;::l:.t.
I) li tJ<"' Ill
Ji\(J)~~'f.:: t -, /:. &;; L. ~'n,flii.::IEJliJl L. J: ?I:. T ~ ;::1:. t,
ctl.::ft.q n<Jllt c>!!ii t;n , ~ ••In• ~;~ L. < L. :!:?to-:,
? . :~:~.••(J)JI8.fim~~(J)mll1l~;;~~(r,]~OO.q
(J)ltn,(J)iJI~tJ<~:l£ ~ n ~ 1:. ~'? ;::1:. 1;1:. 191mn<~ <.;., :~:
•1 ill.m:t.J 1 t t.::li~'n' "'· fi$1!)11~ tt~~~ •(J)m-t;-¥-
W:c>t.;., ~ ~~*'o 9-1 iith t.:: 1:. L. < t. r 9')1 ~~~J tJ<
t ?Jill!i~~ '~~(J)~fU!tt 1 t c· to It 1.::~ n •1 n' n li ~ ' •
c>li, ~(J)J:? 1.::t~~!!~ L.t.:: ">!i! ~'(J)to-:, ? .
stuck with were based more on particularity in the way they
related directly to use . By treat ing the relation between
elements as the major issue , we tried to see the object
without pre-conditioned meanings and categories. We tried
t o look at everyth ing flatly, by el iminating the divisions
between high and low cultures, beauty and ugliness, good
and bad . We thought that such a way of seeing is called for
by the urban space of Tokyo , which is a gigantic
agglomeration of an endless variety of physical structures.
If we describe this agglomeration simply as confused or
chaotic, or understand it with a predetermined story, then
probably our own experience of Tokyo's atmosphere wi ll
disperse. Anyway, there are too many exceptions to be able
to convincingly deduce each building's composition from the
urban structure. So if we try to collapse da-me architecture
into a typology, we will lose the interesting mongrel nature of
the differing elements. Our flatness means something more
specific.
Guidebook
The result of the observation also depends on the method of
representation. If the method doesn't su it the observation ,
-jj 1 r: j ' '') ~
~ ~- ~ -l~tt~I:.~.~~;J;'D9-f~(~4t.~~
~u ~~n~~gl:lf:•~tt~·~~(J)~ac>a~ . ~
. T A( ~~.U~(J)~~~:l£·1!)~-~-~T~(J)l',:i£
.(J) i±~tJ<ji;~, 1:., J!f,L,(J)U~tJ<~p 11. ~ 1:. ~,? ;::l:.l'<f>
·;t
~ . to tJ• .;u~~nt.::~giU!nli~'J:?li . :lf:•(J)~•
f ~ ~ li ( < 1;1: li.; li ~ ' •
g .qif ~"-~(J)~.n~~~ 'l 7(J)B>tc>a~ . •ali~
tili< . fi$(J)Jl.j'l.t<IO~ > :I;~>/d: • • l;t, 7-t:?'-~3/
::.-~ 7-.t.l~h~t.A-l'~'li~' e *i!~l'<to~ . ton•.;, <to
;; 19> ~ 7---v;:: 1:.1.:: ff ~ ~~ ·;t 7tJ<:tJJ1'F ~ 11. T ~ ' < . ~-'if
-IT) El (r,]l.:: <to? J:? l.::fimtJ<fit< L. iD: ~ n < ~, ~ . t.:: 1:. ~
*lf(r,)l .:: ?(<;tJ.t.::'J7 ~') I 7'l'i!Otl, fi$1!)~~,~~
ffil\ T~I:. ~, ?~l!il'. ff~ ~~·;t 7 li~=(J)Mii!ii:!: t.:: li
:tJ~,-v~X(J)~A~U~?~ . L.~tff1~~ 'l 7~~~
f£n< ~'"'li~'L. . ,;~: .., ~ • JtL.tda:~: • Jt. ~·Jtli~' . t "' -3- 7J~.;~.?~?~c~~~n~fim~B•~
(J) C./:.t, ~l.::lU~I:.~llttt•I~TJIOi\l.::l;tiiL.H'~
the result often can't be grasped. Therefore it is important to
devel op a method of representation which doesn ' t lose
observational quality.
The format we chose was that of a guidebook. Tokyo is a
g1ant maze-like city without physical navigational aids such
as axes or urban boundary. Perhaps because of this, there
are mnumerable guidebooks on every facet of life in this city.
Tokyo has already been ed i ted to suit every possible
Objective . Even if they form a kind of software after the fact,
1n term s of organising the way the city is used, guidebooks
can become a tool for urban plann ing. However, a guidebook
doesn't need a conclusion, clear beginn ing or order. This
seems suitable for Tokyo, where the scene is of never ending
constru ction and destruction .
Urban Theory by Architects
Muc h was learnt from architectural and urban theories from
ou r predecessors. From Bernard Rudofsky's 'Architecture
With out Architects', we looked at the response between
architecture and the environment in vernacular build ings.
From Nikolaus Pevsner's 'A History of Build ing Types', we
considered how he picked up arbitrariness and criticism in
;::?L.~~-~1ffi?~<IO~ -, T~.~fi~~~~~*~
J:~~~~~. fi$~tJ·<;~(I~A-l'~'~ . J\-:T-~ ·
)~ ~ 7 "A't -IT) fit~~li l,.(J)it~J tJ> i',li J\j-"c"' 7-ld:
ltn,~J:~~Jl(J)U~/:.f(J):l£.1.=~7'7"A·~~~
f t:J~7'1';... ~' ~ :f(J)Jfit.I!!J t.l' ">l;tit~.l!!.
7 -IT) 11~1£
~~•-r~~MI:.li~li•~=(J)~m~~c•~tttm
a'l'tt 1. ~ )~ ~. o ·;t ~IT) r fim(J)it~J ;/)'.; 1;1:. fi$(J)K2
it lit;:: l.::fftt~ ~jfi.q (J)it~tJ< ? (~I:.~\?~~~/:. fi$
(J)ffil!:M~MI'-1, ~- 1 )/ • D?, 01\-~ · ~7 ''J't­
(J)f~AAttJ~<;~.~-U:tJ7-:::f~-(J)mn8t>tt(J)~
l.::;::f~lllJtJ< ~:iLT~;::/:.1, DI(-~ · ~I /7-"--IJ,
r="A . ~~ ·;t ~. ~7?:.-. ~7-1' -~:..- ·~~t!:t-'7-
(J)f7~~ff"AJ~.;~:1J(/d:t(J)Iit~(J)Ifit.I!!(J)~~(J)
~ l:{ii:lf-j tt~:t.J~~~ . ~.I. ' ~-J~/1-~{J)fr.I&(J)=
(J)R~I:..f(J)~~lf~C-~(J)~~~J: -, Td~:iL?~
1"tfi$(J)*l\U;(J)~4L.~f. ~fO:.Xllii(J)f'"J-~~M~JtJ'
.;~. § (J)i\lj~<IO~t(J)I<IO~if:I::I:~"A~ 'l 7-L..~A-li
~alllli ;::1:. 1.:: t :1: 1i t! L.l i1;::?1:. T~fimU~(J)'.ttJI f.
ili~!!IH~it!l(J)f~~u~~Jn•<;li. ~~r;u.::mi!J;~,<~
the selection of building types as material for th inking about
architecture. From Aida Rossi 's 'Architecture of the City', we
thought about the interdependent relationship between
architecture and the ci ty . From Colin Rowe and Robert
Slutzky's 'Transparency: Literal and Phenomenal ', we learnt
about how space evolves out of the overlapping of various
design criteria. From Robert Venturi, Denise Scott Brown and
Robert lzenour's 'Learning From Las Vegas' we real ised the
power of placing ' bad architecture' wi th in the li ne of
architectural history. From Rem Koolhaas's ' Del irious New
York ', we delighted i n the idea that the whole of the
contemporary ci,ty is made up of a series of accidents, in
accordance with inevitable changes to the overall urban
plan . From Wajiro Kon 's 'Kogengaku Nyumon ' (Introduction
to Cultural Studies) , we gained a love of observing the city
before us, and an understand ing where even the most subtle
th i ngs start to hold mean i ng , sketc h by sketch . From
Terunobu Fujimori et al 's, ' Institute of Street Observation' we
discovered the joy of actually walking in the street and
finding fragments - allowing the swelling of imaginations and
the speaking of small urban histories. We were encouraged
to think that each of these theories had been born out of
0 11
 ·~~~~~6~~~~6*~~m~~~*M~~~~
•ooa~~•~~ . t~T~n6~~~•·•~~~m
'~">il~I:M-r ••uu·6M~* 11 f.ln<6t. AHil:l.t r~t~J
r~mJ I:M-t6 flit~t.l~llfOJiiel: 1"6*~" t3l: -:> T
~ ' •~ t l:~~-:llt6 n t~ . **~~il~l.tt: ~ t.lM~Il f
rlll~> T < h6~t.: -?? tJ• 1 •
l.t t; cl') 1: r :Sf;( ~t~J b' .., t~ J:? 1:-" -r ~< . -r :..- . ~--'~'- 3
-~il~l.t, .iEillt.lt ~-?A* IJ ~ ~ < *~' . t ~ THimi*
~t:i-¥::$:1: t.l6 J: ?t.l11W~il9 t.lil~l'l.t *~' . ~~~7'1'
/ '/9 1' -:1 t ~ T l.tlill•tt:'\">~liijft'gf.l t: ~ A m:ltftiJli~l'
l.tf.l ( , IU<ll'\">flll'P/i'\">1\ ·;6-1'/'fi!/9-t.lc~ B
miJli~'l"> . ±*i•~~~~~t.:m~IJli~n<~~' . t~Tf!
:gil~*~f±.l'l.t t.l ~' . ~~l!h > IIH>l§! ( ~~il~t~
"5tJ<f ft l' Bii § l:filT 6 ~l.t, l!iJ IJ ( t:~ C tJ>, tJ -:> to~'
-5'-:> tot~-?*l'tt.l< t..T~* -:> T~'6c~-?l'A6 . ~
1t•J! t ~ h T ~' 6t ~tJ<, f~liPITI:A 6 J!* f OJfjg f.l~
IJ ;flj ffl ~ t.l tJ<6 , Jlll~il91:*llh.lL T 6 h T ~' 6 ~ l'A 6 .
:J :..- 7? .A~ 'I">M~li t ~' -:> fol!ili3 HI Ell ~ T, 3tftil9M
Hili~$~~~ ' M1!!'tJ< ft~fe
1!!'tJ<•tJ•ft -~ l'l.t t.l<.
.rc>.tJ• h 6 . ]f[Jl\l'IH ?~'? illliM1!!'J:1~~~ t ~l.t
discussing part ic ular cities and architectures. They have
concrete origins in a specific place, and yet in the end they
lead towards an abstract level, which can open new
architectural and urban awareness. What kind of awareness
will be opened up by the buildings made in Tokyo?
From <Architecture> towards < Bu ildi ng>
The bui ldings of Made in Tokyo are not beautifu l. They are
not perfect examples of architectural planning. They are not
A-grade cultural bu ilding types , such as l i brar ies and
museums. They are 8-grade bu ilding types, such as car
parking, batting centres, or hybrid containers and include
both architectural and civil engineering works. They are not
'pieces' designed by famous architects. What is nonetheless
respectable about these buildings is that they don 't have a
speck of fat. What is important right now is constructed in a
practical manner by the possible elements of that place.
They don 't respond to cultural context and history. Their
highly econom ically efficient answers are gu ided by
minimum effort. In Tokyo, such direct answers are expected.
They are not imbued with the scent of culture ; th ey are
simply physical 'building'.
01 2
;J<cl'> 6 n T ~' t.t ~'~n· t t.. n t.t ~' . t n 1.t :ltft:n<Ji• r~t
**~~~~ t.l~l' .il~ ~-~~~i.:IJ -T:::f~-f~
~Jl'l.tf.l(, -~tt..T~rll~Jl'A6 . tl.t'\">/o~
it~ r*c*IJJtJ< ~*n T~' • · ~* ..,t~•;t~t tto'f.
-:/3 /~lfil~t.l1.11~t.lt:l.tro'llll'l.t t.l ~' . illltmt.:lt, •
il jC il9 {l.ljt {it'\"> .A 'r -I~ f t t~ f.l ~' r * C * I) J t.t • it~ •
• ~>l.tft!!~ 1 ~1: t 1l"~ *~'itt:;J<tJ<, .!IO~t.l ~ l:lf>F ~ n
±*.llSm. lll:ll~~''fnc>tt.l~' . fiqf.ttntl!llllt-t
t~ J: ?t.t , il:t:~~~Jt. ~~~~~HlBtt~,?~<!il~tJ<Ji11
U!Jl~ ;!' t * IJ t ~\? I: Pi l' IU!.!l ~ = ·:; ~ J t /lf -5' ~ t
.lL"t6 . ~t~~.~:J/Illt~·~--~~~-¥~ft
I :~T~> 6 o .A?7 ·:; /. 7";.,.. t< . ~~~I<~~ IJ ;&~ l'. iii
* ~ \~ -f*ftt.l t: l.t~fi~l/lfiliial' •• tJ<, fti.S-il!!fl£ t
i3 77 ~-t<~J:?t.!.mt;?6MM!l9t.l~Bf~~T~
I • • il£f9~"t6ftimi*~~~~~6T6t.~hl.t~*
t.lfJ'-:>fo~l'. l!lii~T6·~~-¥illi / •. 31< / JICL' -:> fo
~ ~' ffl it~tl~l'·-? ? . t.: lt t:]f[Jl\ t ~\ ?~l.t ~l:i:2!ID!
llll~t. ~~r*c*IJJ~J&1Jnl'!111'Jbi: ~E-t•J:?t.t.
il9t.l.tiPITl', ~%toril~J~nl:. c~-?llSm~r.,~w
t~U~tiil9t.l~U#]f[.~l.tA 6 ~~ .
tJ<~~~hH>6 . !IPITlif. ~~6htoM~'\">3tfti:J:
~ >bl9> 6il~*(r,Jt.fU~tt~~OOJl'l.t, ~~J:?I:~ilt.l
-:> T;I:/ii:ft t.. J: ?t T6~t tJ<, fiiJtJ'il.t -:> 1:'( h ~ T ~*?
Jc*ij~J&ijn#Aij?o~t~~b6'f . n-r:::r~-~
t~-?. tfttJ<]f[Jl\l'A6 .
liH. ~l!il9t.liJ!ii!ifDI! ~ . ~~ ' nftnl:jljl t..i2> cl'>to.
3(ftil9f.l~~f.t~~'f'\:tJIJI:, Jlll~i)9{l~~f.til/,~> 0 ~ ~ ~ ti C: rUUl ~ .=. ·:; 1- J
~t.!i ~~ il~#~~l'A-? ? . thl.t~:Sf=Xk~t~6
~~-??~~~~-??#MOO~-??#±*~~~f*l'A-?
tJ 7-:::f'J -fl!IHlt ~tdl~tJ<~~'tJ<it t.l~,·~~l!lillili ~toVt?~nltl'AIJ, ~'l">t~fft/ll.ttil:¥l:~~'. ~
?tJ<t> n• h't.t<t~ll l:a • t~ ~~ ..,y~'< . :!I[J!t.t
f?( IJt!:l~to IJ, 1!1\/lll~t.! ffl ittJ<vt?~lllii!if*l:~~ ~~.•s~~~~§~~~•*6~.t?t..~fftlti.t~J!
~l.t , ~~,n~~ItJ<, f~I:A6J!-1:2:ll[~fltt1Jf~
t.. n>to IJ . l!lllli"t6mt~:~il~'l">l•ii!i~tJ< -f*il9l:~ J:L.I:I:it;cl'>6ftH>6,J:?t:~? . ~~~~t~,?~t.tV
~-t~>?;::tl'A6 . t~t~li, iiii!i:lii3~T. lk.ll~~
m~n~ij.Vc?~il~~llSmt~•~~~~t?~U t?~il~~~l'd.lL-to~l'l.tt.l<.mt~:~il~aut
~.il~til~~~~t.tt:~~~il9*~~~~~nn:n
.. ..,..,-r~,f.-IJ
"" /c"'
tJf J~ ·:; ·,- ~ • c~' -:> foA~I :, fiqtJ<r.lllll ~~l!lii~To~*~JUUI.!l~t.!iU~8~J: ..,T !i11.lL~T
~~II:J: -:> T~~~fUh6 . t?~,?-~f. llSmU~
1: t.. T ~, •~ l.tllSmU~.!ll:t:>tt • ~il* r*t * IJ J ~?< ~ '•~t.:tJ• 6 • *•~~!itJ'tto6"tt?~' -:>follSm~.l.l!.
.!l~<P l'~ 7" 7 -t- :Sf:..- -A t/lf~ l' t J: ~'n' t~n t.t ~' .
Shnt . r*c*IJJ~tpi:Jl.~>t!:l~ho~bhn. Tt.! ~~~~~~ci'>T.fhf**~~~T~~~~o;::t~
f~t.!i~t ~ T, tot ~liiiii!lli3 t T'lf- ~~J:? t.l :IJ 7
n-sn m~~uc>ao . l'<!t.f~o>t~tJ· . t?"th~. '&3l;il~t~illUI.!l~i.Ul
Moreover, Tokyo is really such a contradictory place, because
over-definition towards generic ' bu ilding' . The build ings of name su c h coherent environments of adjacency
it is in fact these buildings which most clearly reflect it's
Made in Tokyo are not necessarily after such ends, but they 'Environmental Units'.
quality of urban space, whereas the translation of issues of
simply arrive at this position through their desperate Furthermore, the external envelope does not act to divide
place through history and design seems like a fabrication -
response to the here and now. This is what is so refreshmg ubl ic and private, as in the traditionally understood idea of
This is Tokyo.
about them. :facade. We are in a fluid situation, where rigid distinctions
Where cultural interest is lol'{, interest in practical issues is
such as between shallowness and depth or front and back,
high. Whether civil engineering structures, rooftops, walls or
Adjacency and ' Environmental Unit' are eas i ly overturned by a shift in the setting of the
gaps between buildings, utilise whatever is at hand. What is
Our interest is in the diverse methods of mak ing and using ecological un it. .
important is the discovery of how to establish a second role
coherent environments within the city, together with the The magnificent Arch itec ture of Ar chi tects retains
to each environmental element. With this doubling up, it
urban ecologies seen there. This incl udes the unexpected dist i nctions between categories, rationalises physical
becomes possible to re-use spatial by-products. The material
.
adjacency of function crea t ed bY cross categorical hybrids, structure, pushes preconceived use onto that structure, and
is not given, but is discovered through our own proposition of
the co-existence of unrelated functions in a single structure, tries to be self-contained . Th is is even though there are so
how to use it. It might be termed 'affordance' of the urban
the join t utilisation of several di ffer ing and adjac ent .
many diverse ways to define environmental unities. It IS a
environment. Further to this, cross categorical hybrids such
buildi ngs and structures, or the packaging of an unusual method that Modernism has passed down to us, and the
as expressway-department stores can arise. In this example,
urban ecology in a single building. preCISIOn . . Yet,
. . 0 fl'ts ways is becoming stronger and stronger.
the department store depends on the expressway for its
In Tokyo's urban density, there are examples of a coherency everyday life is made up of traversing various buildings.
structure. On the other hand, the expressway depends on the
which cross over categorical or physical building boundanes. Living space is constituted by connections between vanous
department store for its val idity in such a busy commercial
adjacent environmental con ditions, rather than by any smgle
It is something which differs from the architecture of self-
area . So ne i ther can ex ist on their own - they are
standing completeness. Rather, any particular building of building. Can 't we draw out the potential of th is Situation
interdependent.
and project that into the future ? If we can , it may be
th is kind can perform several roles with in multiple urban
Suc h existence seems anti-aesthetic, ant i-h istor ic, anti-
sets. They cannot be specifically cl assified as architecture, possible to coun ter the typical Japanese Modernist public
plann ing, ant i-classification. It releases the architecture of
or as civil engineering, city or landscape . We decided to facilities which are cut off from their surroundings and
013
 t I!Jf "5 l;l] {) J:? t.;: J!!l!H:il -::>f.: IJ, Vc -:lO)~ 1: 1 ~ -y 'r-
c-:) ?t :t 71: t.;: Q t O):IJ((;t c ;._ t: ?ilhf.: ( /:ill 1 ) 0 f 0) • .., '* ~1 1J 0)3-:JO);'fii:!IR-?tt. ::f7 :1J<ff
:;~ n {);:: ct t.;: < t.;: 11, t -?c'JI ~< t.;:11 -:)-:J~M: vrl!lll n-T::i' ) -. I""'· '"'
i2!1: . ;:: 0) 3 -:JO);'fi;l)f~"( l :t ;., 1: t.;: "?l ~I{) O):IJf, *'f- IT· lfJ{ ') I- ~ 3/ 1;1:20)3-=8~ I)I: f.j: Q 0)?
~~{)~~t·8~ht.i:W~t 7 ~7-?tB8~{)J: ? (!ftQO>'::>

l:f.;:{)f.:-3? .
~~-~~~~t~/O)~~~Q~~??~-/t.;:ll!;~ ~Q . ;::nU~HI ~QC~c -? <U*St.i:~~?·~ ·
?®-?f.: . ;I; f.:, ;::0)7--j>-~O)<f'?llft-:t7t~hf.j::1Jf :;JJiio:ltsm~r.,IHHl.~o:l i.ULcsls m~ 1:. ;:: O)J: ?t.i: ;:: 0) :tH t: :f ·y ? l;t. Jli'Ji(O)~ "(TIIIilil [; t ~'{) PIt<.'

~ ;( 1 t:. 1;.,. ~-'I' 3- :IJf!MTI;t *~ t.;: ~~llS~ ( ~~ ~ 'J 13 ~ :IJ<rt ~ n< ~~ Q 0)? ® {) . ~q t.i: u•ttl:x-tlit~ Q l;tt.i:~>[;, 10~ll11:1;t ~ (h ~{):IJ> t[;tlt.;:~ ' . [;;1)•[;,

;:: ? [;f.: f~~.l = ·y ~ j 0) ;I: C ;I: IJ t-:) ( IJ t:IJ ~~'*1: 1;1:,

-:t:..- . iJI~:t7. fj!~ 1 n:t7 l l:l;t. '~'Jo:llllil:t-f.:7,
-If- t: :IJ<Mfit [; l ~I{) 0 -:)a: IJ? IJ-;., t.;: 'f: :1 =A~ 0) t:
...,_,..._,;.
it.:IJf.J'• 7-,,. 7- 1_- "' .. ~" ..,l ~' Q 0) ;l)f )lj'Ji(O)Jit"ft? .J;) IJ • •* 1: ~'? e* t.i:ts m~J<$: 1 ffi'f-1: ~{)0) 1;1:1!1\~t.i: ;::1:

~~~~-~J:{)~mO)~'*·•~~t.i:m~wt-:Jtt•
t.: ;I)>~ fj_q IH±.tlo:lil!~I: M tl Q 'f.:IJf :IJ> IJ 1: t.;: {) c ~ t P ;I)• "?l ~ ~ Q. '-' t. t ~.. t.i:tsm-r t i l • l <f> ,L, t t- f.:
J~c'~'JO)fii~ho:lr.,I: ®{)OJ~ftl:IJ<, ;(1t:·1:..- · ~­ p(tQ:t71~ A-~f:1;1lt~J~Jii'Ji(O)iiJ~1il$ t.: {) VI:;J:I:;J:IJO)!l~ <· ~~q;t jJi~ {);:: I::IJ<T.' SQ . i'Ji~C.
0)~'*· 13J:U'{j!~11JI:J:{)~'*· b 1 ?3-:Jo:lRt.;:Q~
'~'- 3 - 0) il•l: J: "? -r !it ~ n-r ~ 1{) 0) ? ® Q • t- li t- It 2 O)T.'®Q o f ''-'' ~~o:l~~fiAo:l<P~t;::;::?U~~ fj!.IIJC:IJ<~'t. ftl.IJ&IJ. ().. q:IJ<~, {)I:~ > ?;::/:1. iS
~i!iiU3 c Tl~- ~ O)'IJ~ t1i
7•
'*O)J!t.;: I) ;l)f h ~l <{) .
fiM.il: c t- <tll ~ ~ n {) 'E :1 = ::z: .t. o:ltsm~r.J c ~~ 'J O)IBJ tt~-~~-~ ~Q;::c-r,;::O)tsmo:la~? "( s*•O) mo:ll*lmiJ:IJ· ~ t;:: 1: ® Q l l • l ~ t- -r h {);:: t l;t a: t.: OJ~f
V'm~c{)c.t;::?u~?O) ~ti•2~c . T?o:l~3
~hU,;::;::?mt:llt-k:t/ / :t70)iiJ~t.i:A~70)-JlB ~ii'JO)I 7 ~ :..- AIU -? 8~cl-kB T.'ii ·~~-~~Q -raQ . t;::-rO)u~u . J~aO)Jii'Jii~M~{)fi40)••
'Y 1::';., ?'l;t/ll] [.; iJI~j;$: t:IH! [; t~l {)f.: It?. ~ ~ ~ IJ-
t,Sii'J{)I:~~t.;:~~ .
;::t:IJ<T.'!tl ltJ:~ ' I:~ -?t ~ ' Q • tsmH~I;t~-~~ ~ .6 ~~~7~~ iT.' A~.M4J,.W;::o:l;J:"51fj!fflC
tll?[;fj!JIUo:lllllllt-l;IJt.;:~ 1 • -:J;J:IJ , ;::0)1JH. V
~~~:t/ / :t7o:l~HU.~M~~~t.i:t:o:lfr~o:l?'~ [; Tl;l: [.; ii'Jt~ lll/lfiill: ~ {)O)T.'a Qo f? ~~?I!!~ 1: ~ l: t-<.7' ~1'~-l: l-t ~A~?1%~Q/:8o:lM~~t.;:
c a: c a: 11 0)~~ c t- -r ~~ {)0) 1;1:m~O)~~ f.: It?®{) .
-t:o:l~ /- . t:~7'i/?' ~17o:l A ~/ B~ . -~WI!Jf •O)r.,O) ~~:a:~:fftl 1 ii•O)-:) < 111;1: 7i- t: /{ ·y ? ~ Q• f;:::IJ·~t- :IJ• !1HH.:"5o:lil~~ii~l;tM;;J:~t.;:~' • f
;:: O)it•:IJ< r :1 ;~ ii~J? ® {) c-~? ili:$1;1:. ~flllio:li±-n
~13~{)•/n .~~~fllli~o:l•/ ~.~oo•~t.i:'E5~ Q;::t:IJ<. ll~O)n:IJ·~;::O)wml:l!t~t-<~'<lli¥0), v
l:llll~M~ / !1, t.i:t:t~h~t>f.:-?? . ;::O)m:!£0)-'f!IJI!Jf
t.i:<. ~~~'J-:IJ< 'f'-f:!! ( il~c±* l? . {j!ptJ.1J < ~ li!ll. ;<-(f'·-f/ ·~ '1' 3 ·7- -1' ~ fig. I: Made in Tokyo Cha rt
~-~13~{):t:..- / :t7o:l~h~P~W-:l(~t:IJ~A~
illli! c 7'1~- ~ ) t'f'J.IIil:?, :IJ' -3? t.:< iJI~J<$:f.:lt ?~ 3? 0)n;~ Three Orders
7o:l:t;J;a;:IJ<, r ~it! A 11 2 t.: "?f.: J c ~I"? f.:ll3 ~1:l.lln {) J:
J<$::1J<a; c ~~~J ~ n-r ~~ {)c~~ ?. to:l 8 P t:~~a:~$1: J:Qt iJT:::f') l~ ii miOO.tO)AII l ~9!
?t.;: ,;~ ;.,~~t.;:~~~.lt-0)~-t.;:tl.tlO)·~t-:J Category Structure ( Morality ) Typical Examples
O)f.:c~Ptl{) . ;::;::?i'ithl:, ;l:c;J:IJO)~~I:t.;: {);::
ct:t:..-. t.;:~t.;: ~ ~ ;::ct:t7c~Qc , ;(1t: · 1:..- - ~-'f
<~t:ll~c~Pn{) . WI!Jf~·O)~"(<f:t:..-~~{)~U
- - - [ ON
(ft "!£ 99 IU;)
Magnif icent Ar chitecture
A ~ 71;1: -~ IJ [;;IJ•f.j:~1 . [;;I)>[; l: ;::;I)>:IJ< ;t 71:t.;: -? t t
3-o:l:1;~lt~u. ~~~'J- . ill~. {j!~11Jo:lt:n:IJ•v
J: ~~t.;:~ li, A~ 70)/{ IJ I - ~3;., IHIIiJil~I:Jfl ~{) . ...:
ON - { ·- - ~-N---- · · - -~-~~-- - ~:; ~~i;d~~~~~
..... ...... ............. ;····
29 A - H- · iJ- · A? - Iv
llll ON __... ..-·· OFF super car school
packaged into a single box. We can place attention on the
07 . 1~7-/:::Jil7-f'71t..
Ar chitecture
take effect they are 'off ' (fig. l :Made in Tokyo Chart) This -....... _... --· ON
issue of how usage (software) can set up a network , where
system starts to incorporate all the value poles which seem !lilt.~= ·> ~ pachinko cat hedral
public fa ci l itie s ca n be dispersed into the city whilst Env~r o nmental Unit OFF-[ (HI)O)rott )
to form such an important role in the recognition and indeed
interlapping wi th the adjacent environment. Spaces for living OFF ( Pari s streetscape )
the very ex istence of da-me architecture. We can recognise
can penetrate into various urban situations and thereby set 06.'t-:t/t:/t..
that the examples of Made in Tokyo almost always comprise

-c:~F
up new relations amongst them. The possibilities for urban neon building

dwelling expand. some aspect of being 'off'. The only vacan t endpoint to the 03.1\1'JI1TI~-~
ON
Chart that includes an aspect of 'off', is the position which highway department store
OFF
On/ Off might be filled by the continuous street facades of Paris. By 10 . !UI!;!;H~D-It..i::O/t..
{ ON expressway patrol building
contrast, the magnificent buildings of Architects are 'on',
We can fmd an overlappi ng of 3 orders which set up the OFF-[
'on', 'on' . Often, the Parisian streetscape and the Modern
70.t<IIUUI
OFF
'Environmental Unit'. They are based on ca tegory, structure shooting graveyard
city are held to be in opposition, but the abundant examples
and use. If we take again the example of the hybrid between
of Made in Tokyo show that they are not necessarily bipolar.
expressway and department store, the traffic above and the appears to be chaoti c, in exchange, it con ta ins a quality of From Inside the City
They simply exist within a score of on and off.
shopping below are simply sharing the same stru cture, but freedom for production. the landscape of Tokyo is a random This guidebook which captures the living cond ition of Tokyo,
Anyway, surely too much 'on' can' t be good for our mental
belong to different categories and have no use rela tion. In layering of different buildings corresponding with multiple may seem to be old in 10 years time. But it is impossible to
landscape. If we switch all 3 orders 'on ', there is only one
other words, it is only stru ctura l order which unites th is social purporses . We hope in our design work to clearly attempt to take on the whole of the megalopolis of Tokyo.
possibility for achieving satisfying architecture, but if we
example. Maybe it is not that the example is impossible to represent possibilities for the urban future by being Yet from the scale of a building, inside the city, it must be
allow any or all aspects to be 'off', th en suddenly the
evaluate within the existing cul tural value system, or the consistent with the princ iple findings of our research. The possible to see owners, users and passers-by. It is possible to
possibilities for variation explode to 8 (2 to the power of 3).
norm for architecture, Rather, the sense of unity is full of observations can only ga in a certain clarity once they have find environmental units with buildings at the centre, Wlthm
This establishes a huge release for those who are designers.
dubiousness which is the essential reason that this example been studied through design and vice versa . Such interactive th is never ending city. This can become a bodily grasping of
When we say that we can sense the pulse of Tokyo in the
is da-me architecture. We can say that when any of the 3 feedback between observation and design is one efficient our understand i ng of urban reality. We think that our
'da-me architecture' which includes some aspect of being
orders are operating, they are 'on', whereas when they do not method through which to contribute to the city through the architectual adventure can only start from here.
'off', it means that even though the urban space of this city
014 scale of architecture (fig.2 : On I Off table).

015
 No .
-B~
name
• • :J h7':1'J- Category lit il Structure
2 warehouse court ~~'n Use
I v? ~ IJ 'J ? lti}'- :l;,. 0
3
I\1"Jz17'1t
electric pas sage
•
0
•
"~-;f i) •J:l
highway department store
•
0
•
:lz ., ~:J -;.. :9-1::' ILo
ci ne- bridge
•
0
0 •
•
6 ~ :t /I::' )j..
roller coaster building
• • •
•
neon building
lt'f-/:J;IJ7'1"51Lo 0
8 pachinko cathedral 0

10
9
1! 'J ? ;<.1::' )j..
h5:t7>l<7'1Lo
sex building
karaoke hotel
0
0 0
• 0 ( ~~~illlll ) ' I
0 ( Jjf. - Jifli[) '2
tus;w; 1t~ o -11,. t:: 11,. 0 0
II
12
*~llli::'ILo
lt-?onlf-?
expressway patrol building
embassies building
park on park
• 0 0
•
0 ( Jjf.-Jjfjj( )
0
13
14
I{ ;<.iffi Jill
:1 )j.. 7 :9 ? " -1::' )j..
bus housing •
0
0
•
0( Jjf. -Jttjj( )

15
~:J/J>It
golf taxi bu i ld i ng
•
0
•
16
h-:9?
nama -co n apartment house
••
0
•
17
18
/.llJ>If-~

~iX!:J:.-:tt-- ·, ?;..
car tower

horse apartment house

0
0
0 •
0
0
20
19
lillfl::' )j..
ll;i!-7;....~3 ;....
distribution co mple x
air - con build ing •
0
0
0
0 ( ~~~illlll )
0
21
22
1'f!UI::'1Lo
b i llboard apartment house
shrine building • 0
0

•
23
~±'Pit-~
li:il!;<.lt151Lo
sand apartment house
delivery spiral
0
0 •
0 ••
24
25
itii ':J 7'-I::'JLo
:9?;,-I::'ILo
bath tour build i ng
0
• 0
0 0
tax i bu i lding
26
~5 ·> ?:9? 0 0 ( ~~~illlll )
27 tru ck tower 0 0
1/:9-:J 0 0
28
29
GS 7' ;,. :1v ·> ?;..
;<.-lt-·n-·;<.?-11,.
i nter c hange court
double layer petrol stat ion •
0
0
•
0

30
"*:J-~
super car scho ol
0
0
•
31
J:*:J-~
sewage courts
•
0
•
32
• lli3
supply water courts
•
0
•
33
]';l~~if>~
graveyard tunnel
•
0
•
34
illi/6.W
ameyoko flying temple
0
0
• •
•
35 shopping wall/mall 0 ( ~~~illlll )
v-JLo~;,.- :l J>J..
rail museum
•
0
•
0
•
36
37
':1 1 / l'*IIHi'i
Jttjj(;<.51:¥-1::' )j..
1w1n deluxe sewerage gardens
proliferating water slides
•0
0
0
•
O( lll-.ttt!il )
38 Ill\ :t -"' 'J;..? ventilator obelisk
• 0 0
39 fRG');j<-1.. apartment station
• 0
•
40 J..h'i'tt'i'i centipede hous ing
• • •
41 !1ltb*l::''-' ·>:l veh1cular village
• • 0
42
43
:¥11::'/'/:9?-
~.,.-:,...-v;..,~3/
diving tower
ch assis apartments
•
0
•
0
0
0( Jjf.-Jttjj( )
44 TTT ( v:1·:t7 1'A) TTT (I ego off ice) 0 0 0( Jjf.-.ttl!l )
45 ~/~ILol'I'U tunnel shrine
• • •
46
47
y;_,:,...3:.,...LlJ~

P.!llfn~IIJ
apartment mountain temp le
vampire park
0
•
•
•
•
0 ( ~~~llll>l )

48 ?v-:.-t~t.f cra ne shelves 0 0 O( Jjf.-.ttt!l )

49 ~ - V 1 • )1,. • 7 7' ? ~ I) - ghost rail facto ry
• 0
•
50 l!li.tv/;,3;.- retaining wall apartments
• 0
•
•
51 7 1J ·J :lii"JA bridge' home
• 0
52 'i'ilii!Mll res idential farm
• • 0
53 ~)lff1/:9-'f- z/:l dispersal terminal
• 0 0
•
54
55
0 11" )j.. :1 )j.. 7 .,. :.- "3 :.-
7l- ::t 71'A
royal golf apartments
car parking off ice
•
0
0
0 0
56 '/1)-/lt-"t/'/ green parking
• • 0
57
58
::t-~T'It-1-

77'~vA35?.5A
auto department store
family restaurant triplets
0
0
0
0
•
0 ( ~~~illlll )

59
60
Wllt:9?:.-
~'ll'~v-JLoi::'JLo
vegetable town
sprouting building
•• 0
0
0
•
61 TRC ( JlJ:1:illAi!/:9- ) tokyo dispersal centre 0 0 0
62 ~;.fiffilii!I::'JLo coolroom estate 0
• 0
63 '< •J I-il~1~ pet architecture 00 l
• • •
64 ~b.Y/:,...3/ dam hou sing
• 0
•
65
66
:/to/? ~3
A ,r,- ';! :f 1)
/~- ~

'J :l
-j- )L, airport junction
sports bridge
•• 0
0
•
•
67
68
A;r.-·;Jv/·X-
"'J:t:S
sportsman zoo
he I i-wa rehouse
0
0
•
0
0
•
69 ili; .7'5A ca rwa sh terrace 0 0 0
70
lill2 . :t:.- / :t7!!!
AHR.ll
fig.2 , On /Off table
shooting graveyard
•
1'. ~~
• •
O =ON ' I generative relat ions hip '2 monoproliferating e =OFF

.::O):::J v? :/3 /JJ:jji:Jj\ C ~' ?firtJO)I) -tf-7 • /0 ~I
? ~ 1' ili> {> tl, /lilllij I:JR)j\O)fim~'r-10)-~! ~{>to /1) 0)
-Ji 1 t: -:1 ·:~ ? I: t.t~< ~' {> • ~l:iii?h'l'.:; O)/lld1'4fl:c!:: ~
<~~O)Jlli\~I*JI:t.tnlic!::, 82f;~c!:::JHg0) 1 \ 1 1; :,.jj
~1::~~ . ~~0)·4~~*~~~-~n.~~-r'.t•~
ili;, {>.tJJt "r'IJ:f.t~' • M; :1: I) t*!.tJIJ t f.t~>jj1 f:-:f ·:~ ?)I~
'Oti:J: ~< . .:: O)JR)j\! 7 7 ':J H:!i;r- ~J:? I:~~ to .
METHOD
.)(11'·1/ · fo.-43
Guidebook Format
This collection is a project researching the city of Tokyo. At
the same time, it IS a guidebook to understand an aspect of
Tokyo urban space. In particular, it can become a unique
navigation tool for foreign visitors , and so we have
endeavoured to make it bi-lingual . The buildings gathered
here are not ordered by any storyline. By using the endless
format of the guidebook, we thought to present Tokyo as an
expanding field .
Research Method
We made an initial list of buildings which had stood out in
our everyday life. We flicked through the city on the back of
trunk routes, as well as various other modes of transport such
as rail , ferry, bicycle. And we discussed the question of 'what
is Made in Tokyo?' The list became thicker. The process of
fixing the selection criteria involved connecting convincing
018
~2tl! to J: I) 1: -5·t~ A,O)~~"r'~ I: f.t ~< ~' {> ~~0):;1;:
:l:tJ•f.tiJ~~!f'F!OC . /lilllijl:~:<~:l:f.t:\i'i!-'Hll:!.lll~'<
fimi!H:!~rr • .::n!7CI:fiJtlr ;(1t:· 1 :.- . ~-'f 3
- J 1' ili;, {> fJ> ! T 1' ~ 11 ':1 :/ 3 / 0 ~ 1: I) ~ ~ ! 3'C ~ ~' <
.:;
~~0)~·-r'l{>ffl!~t.t~~i!~!~J:~~-~~0)~
!I! !~4 l:li1illh< ~' < fUtiJ: , ~ t.t tJ<.:; fimO) 'f . l v- :/
3 /o jtj!llo~l:, fi.qtJ<Jt< /l)'[~>f.:O)IJ:/:.::tJ'I:f;;f7Jf.t
examples and discovering their commonalities. It is a kind of
urban curation. As a result, we realised that what we were
looking for was buildings with a sense of 'oftness' . The extent
of our study expanded into the greater urban area of Tokyo.
Anyway, by constantly moving, we could gain a sl ight
distance from the burying containment of the everyday city.
Observation was not focussed on the building itself, but was
with a slight 'zoom back'. We tried to view the full panorama
- the bui lding and the surrounding environment together - to
see another facility. For the moment, we forgot the
categorica l divisions between architecture, civil engineering,
geography, and sought to see things as simple, physical
unities.
Flows of people , infrastructure is the object of our
observation. It is possible, amongst that flow, to find small
eddies. Usually, built structures must hold a certai n
technological completion. But to use it, or live in it, is not
~-~t~~ ~~?.~O)~~~llili\fii*J~~?t.t<.lli
•~•~:<?a8.::c~t.t~~ . i!Ji:•~c~<t ~ l::t
~<Ill',., n toO) tJ<I311J* 1'. lltw~~iii3'~">llv;?4a.
llv;a4a. l!lil 1s4 .l!lil174 t.t 1: O)~aili3! <t>-L.•I:.
~Iflttl!!~ . ilir,lli!UUl!! ~t.t 1: 0), .lllitO)iJl1£JttJ<ifi~'
0
-~~~~-A~~*~~n~ . *W~~t~il.7I~
JI!Ji\Hlti'IJiT{>ili>611J>{>~I::'-t: .
-. 13'-'*· tti!>t.tl:,
ifii~.ttatJ•60)~J!.J!i\tJ<~~nto . lliji:IJ:~!II::'J~O)J:.tJ•
6~-~~U ~"f{>.::c!::t . ~~O)··O)~Ih~.~·O)
~-~~~~~< . nf~t.t•~ttAO)~~f~w-mt
-~T·~~~.#O)<t>"r'117~A:/'\">?7-Ji~!·T~
!ll•ti!.\\l.~'ita.::~il:• . cl:tJ·<~.!F-<nlh~~~t•.::
ctJ' .:;, s *'tJ'.:; y ~~J: tJ<n to .1:? t.t. :< t.t ~ ~ O)ieMtJ< ~
:~:n.•.
IU~I:ili>to ~ T IJ:. ~~~ O)t O)! iHJ!.'t{>O)"r'IJ: t.t <.
5J: ~ c!::~I~'ThTI.'• • il~O)~:Jlc!::, 1'8 n li~O)Jill
~~80)!l~l-~~~lhT . ~O)~-~t?Vc!::~~O)
~~?a•c~~<;;.• . wml*l!nlh~t.t~.:;i!R-r•
.::c!::I: J: ~< m.:;n{>ieillt~IJ:. ~?~,?~18!1::{>.::1::=
ll~~~!~a -r•.::ct~lh<~- ~ I::A• . vc:<f
ll~ / ±* / llil~~ / tl!!lf~f.> 1: I:~' ~ to 11-T :::f I)-! $fl.
<. to to llti:~II~t.>:l' 1:: 11' IJ 1/:.- 11-T :::f IJ 11 J~I:A • · f.> 1:151 til ~a! An <Willi. . WirutO) 7 -t-< ·:~ ~ I~Il
~:n.t;;.t.t . fim~~~•~-r•~II~t.>m~~?••
necessarily related to such completeness. Any single activity
can stand astride several structures at once. But on the other
hand, our activities are regulated by physical structures such
as arch itecture and civil engineering. Several inexplicable
activity adjacencies can also be seen in the same building.
Through such a particular process of looking, our eyes can be
trained to pick out certain figures from the ground of Tokyo.
A summary of our approach might be to say that we 'zoom
back' looking for 'cross-categories' and 'urban ecologies'.
Material Data
Photos: We took photos to make a quick and immediate
record of our initial thoughts and discoveries.
Drawings: But photos cannot contain all of our observations.
So we made drawings to figure out the actual ity of each
example. Each was drawn in single line isonometric, and the
elements and internal structure and related environment are
AO)~n.1/770)~nc~<.fimO)ll~t•• . ~
O)~fi.O)<t>~t~O)J:?t.t:l:c!:::l:~!·~~-.::c!::~?8
{> . AIO)!Jii~~IJ:toi.'T~'. ttl.fi~l:~'ii;jtj~to¥!
tto~{>!j~f.>~' • ~tJ·~. ~tl.!ft?c!::~ '? .::c!::, ~.::1'
~8{>c!::l.>?.::c!::IJ: , ~O)J:?t.>ttl.fi~t.t'ii;jtji'£c!::IH\\Illl
f~ 1' ili;, l)? {> o VI: ~O)~IiJ IJ: ~' (.:; 1' t?J.ftO) !Jil~~ l :
-~~ ~ y·~~?- . :l:~.~O)~~fi.qO)~~~-~
~'~'>±*!Iii~~ 1::1. ' ~ to~Il~t.t!l!~l:;.!l%11 ~fl. H' {> .
~~~I:IJ:~< .:; n. <~' •ttftO)~~tJ<v 1:: ~O)m~~
Nllli: !li~tJ<, ~.::1:~~-r• . ~O)J:?I:fimlh{>f'F
-~~~<.JI!Ji\O)tl!!~o:;~lt.tTJ:?t.t··~t.>~~O)
:<c:J:IJtJ< Jill i Jt±J~n.• .
O ~~ : ~~O)~Ac!::.ftEO)ft~f~O)~AA"r'~.!F-<E
UT{>tolhi:~Jlll~ .
O t:D-1/~:~~~~-~~-r'~U~~~T~<I~
•-r•.::c!::IJ:"r'8t.tl.' o ~.::"r'~61:~~~!~W(T{>f<
o -1:.-~~~- . ~~~t71~~~~ 7 "0)**~~ita
.::~.~O)m•~~.l*l~m~t.>.:;~~~~-r•~m!l~
-r•.::ci:J: ~< . ~~fH•6li!ltl:JT{>~~HIIll~~m~ .
explained by notes. We tried to limit blur in observational
criteria by organising the format of explanation. Careful
drawing helped us to see the object of our study with love.
Maps: In order to show the scale and shape in contrast with
the surroundings, we inserted the site plans in maps. Of
course, they also funct ion as guidebook maps.
Nicknames: We gave nicknames to each discovered example,
to immediately explain where the interest in the building is,
and to express our fondness. It is also a signature, training
these buildings with no author to become pieces of
architecture to the urban curator.
Text: Each example has a number. Basically, the buildings
with earlier numbers are the ones discovered earlier. Of
course, because it is a guidebook, we also need addresses.
We recorded the functions included in each , to explain how
they are being used. These records show unforseen building
types with unexpected combinations of function. The
019
 IUJ~C7):>J<~ (::,): h. tJ<!f. t; ~~' J:? ':: i,.,tc o T.,: li!Ht T ~
-tt 6 ~ t 'i. u~ 1n ':: ;J!: ~ 6 ~ t -r a; 6 0 "1" · 1 ~ · ~
~-~~U.M·I~MM~TU~T6~ti~H~ o
-'1'3-(7)-tf- "'11ilt.~tflf!fli[.,~~ . ~~<~>'J>C7)
o•~:~C7)~~(7)~~.ma1~m~~t(7)M~~J: ~
~~6:1C~7~1!f.h~i,.,~ o M·~C7)~~ 'l :1~·
T:ii<T tc II'J (::, lJ!!~(::Iflllli\l i!iH; o t "5 ~A- 1i 1 I' :1
( 1991 ) 1::1;1: [; £ IJ, ii!JR1'(7)J7-'\'7-77"1'- • :f :f • ~ •
·:; 7 (7) tc /1') (7)jJ!!~ 1't S 6 o
1-\'-Ji ( 1996 ) 1:: i:n >T?JJII'JT -tt-"'1 t 1,., TC7)tf~ I
0 = ·:; 7;?..-.t...:~_ll~h.tc~j'f(::tt, ~·tJ<jjlj~>T. ~
t6 o ~(7)t;!30~j'f(7)::Jv7 :/3~fJ<, iJ~C1", T:/"1'
(7)00~~~-M~~M1'i!6J:?~ = 'l 7:?--.t...I~H~ o
~ti,.,T~JJl.~tt~ o T:/"\'~U~~~-.~~~171"5
~h.U£~.~~~~1~i,.,~~t~tt~~~~"51,U
.t..., ~ 1" 1:: 1i 1 I' :1 ·:; 7 I a; i,., 6 ~,, tii :?-- .L.. t :f 'J:; ~ J~
~(7)~~~6~~~fr~T~~6~11'JC7)~~1'ts6 o
l~/ilti,.,~ o T :/"1'~1'U~ t1.6(7)~~~Ao(7).tfl
0 2~m~:~-~~~~.~"frT6~11'J~~~,.,•~~
·T~Ufim~-~~~tt.~~T~~tl~~~ o ~C7)
~(tfc o il*9';}(::(i*~C7)'fi~'nfJ<~JltJ<!j!~' o Ml~.
lili~li, 7.o.- 1 J ·:; !:: ( 1997 ) 1'tt:;~~htt, ~1~J{
ti11':f 7 71'3;6~6tt~~~~ o ~h.U~C7)~~-~
-:;3~(7)T:/"\' '/tJ<j"F6tttc o ~1'fl5ol::~\"1,.,, :kS
s~~~II'J1'ta~ o •httni&~6~11'J~.~tt~tt
*~~t;<~1'7~~1~ ~-~(7)~1JI.T,8*~~
(7)~j'f(::~ :< tt ~i§m 191J~2 I,., te o ~ tttJ< t~~ ~iiJ!ng(7)
;J;-.t..."'<-:J ( 1998 ) tJ<j'FJilt~tttc o ~(7)tl!fim(7).,_7
*ll~1t I t ~ tc , ~h.£ 1'(::~~~ 1:::' 1~7-'1' ~ ~~1:11ii<
C ~!f.~* lli\l~>tc J7 = ;<- :/3 ~tJ<j'FJilt ~h. ~ o "' = ~
T tO)(: ~ ~ T~> 6 o ~ 6 (::~h. 61 illff;-(7)I 1::':.1- f.' t 1,.,
i:::'I~~-v"Expo on Line"C7);itlffll~(t, :lil=~~;J;­
T!ft;~(tt i,.,T, JJl.llil1'U~~tttdUII(::~~'TC7)!l!llJl
.L.."'<-:J ( 1999) 11'Fiilt o ~@J.IlU~~~~tJ·6 r .><11' ·
1 ~ · ~-'1'3- J tJ<~~I,.,tc•nt~ ~ tc o
0 .><1" . 1 ~. ~-'1'3-. < 7 :1: 70~j'f(7) 9'171"5.L..
::J~7-~ ·;JI~\"I,., , lE·C7)~tf111;~ T~' <~ti::J:~
~~~!'sh-tt, "1" · 1~ · ~-'l'3-t.:,t ·1'1JIIilt~tt
T, fimm~"C7)~~L,IjfH T~'< o ~(7)1Htli, iiOii
tc 7 7' -7 "\' J~ ~ il[:;j\i!j!jjt~ o
t ~' ?fim(7)u~t=>~ ~,., T~~~ t.:'t1'~ <. ~ ttlc? ~~?
nioJ-"JfT T ~~< tJ·~ ~.fib i! >'J>tt6~ 1't1H1!1's ~? o
ti1 f.' :1 ·:; 7 b>?JI~itlt IJiiHt~~t l'. ~(7)1) "'t-7
:1c :JI 7 Hi!Jl.:(£ I **l:.!ij IH o

deta iled comments help to clarify how the example works

within a series of urban episodes. effect of the buildings by throwing them back into the city on
the bodies of people. The exhibition also travelled to Zurich,
Made in Tokyo Map: A virtual ukiyoe map of Tokyo composed
of all 70 Made in Tokyo examples. and we made a Swiss version of the !-shirts. The examples
increased to 50, in making the Japanese version of a home
Medium page (1998). At this time , we animated micro-urban-

Fixing observation in conjunction with both love and hate ecologies. When we were invited to take part in 'Expo on

emotions is in effect changing observation into a power. The Line' of the Venice Biennale, we prepared the English

survey work of Made in Tokyo has given rise to several version of the home page ( 1999). Now Made in Tokyo has
become a book.
differing products each time it appears in differing media.
First, it was snap photos while going for walks (1991), and Increasing the contents and changing the medium builds up

then it took shape as a survey as part of the exhibition a way of looking at the urban environment. Such work in

'Architecture of the Year 1996', where it appeared as 30 progress seems very suitable for studying the city of Tokyo.

examples expressed through a catalogue and !-shirts. The !- The guidebook format allows the possibility of this kind of

shirts had photos on the front, drawings on the shoulder. lack of finality. The survey will continue. Made in Tokyo is
still swelling to this very day.
take away guidebook sheet as a price tag, and we made an
original Made in Tokyo brand tag. We aimed to multiply the

020
 f<tJ<~Uli!~ ~ T ~' 6 . r2.I v 7 ~ 1J ·;~ 7 Jt
1
Ji!r,Jf,j:" 1 :1 h ~~ it 6 l.II•~~.::O)ta,.g.uJ:cT~llng!r,J llllfllllf-~li t.t~U1L..I!IIt: t~fi >:.:< t> ~ ••tJ· tJ· • · r32 .&
~ JH~ l~ <- _ .
if- ~ ~ J r3 ." 1? .I 17'J t - ~ J 1.1:. i'I<~M;~'~"'~ll;t ~YA 6 t.>~~Ut.;:(T,tctcl31b:!I!~~~~ "J il:!ittJ t.J:JI;O)l"tJ' x (' S ~ T ~ ;_. * l~t: 1J: ? T '' 6 t 0)~ •
1976il'6Fl268, 7' /~=:;t~*VS'E/\.>I ·;~ f< · 7'')0)Ji
iftO)l"tJ' ifli.l!iro'i"7'Jt- ~ t.::t.;: "J to~*libii~~• 6 • .:: u~
to e. ll!!tJ'!R ii'iit i- Til!<t.> ? T8toO)~ . ;;1;-J~-
>~:Tr~ - l!l!ltttJ' J: < ~6cO)i!ltJ·.:; l!l!llr ~ :-- * J~c • · t.>~ T•• 6•
~~llliUt . :tot.-;;~;t;t-7::.-:--::r. l: "J "5tJ' lS~ • tJ• >!:tJ'
~ SI.J:'itl!l.ll€~ t lt~0)/\1 :1 1h f< ~. Vt * t ••J 0) _ t t:i- to ~ ?t.: . zimt:a 6 rs s ." 'J 1tll J
•J 1.6. it 6 ~ r 45 . ~ :-- * J~~UJ t.J: Jli:~tili~UtJ' fllll! '-tot:> .tJ• tf~ . ~
tt to.:: O)li{.g. , *S ,!fHt 51;! ?1 tt (.::~t.> "J to o 1- I'J> t t;t.g. (,j:
l.ll€~~-~liYS,it~ti-TO)-~U.llxf.~~(l: t~)ii$'/J<'~ ( J!.IIJSI-O) A ••1tJlO) ilf€!*€fiJ Jlli-T. ~ :-- * ~O) J: ~t..: "J T!-* "J ~ ~ u~•• · .::~su•~s
~*Yv 7 ~~W.::~~~--.7'UO)~~D-· 7 7'!: ]£J.

.::•~t~UTmW~S~x* "J Ti-*? • V'C?O)~ ~ ~~ l: ~" U;f.-~0):1~ 7 ~7• -~ WtiitS~~tO) ~OOi ~ ~ to'll:l!J'l t iS• >wO) ilf€ t O)lli~tJ< , ;J- 1!1< '-to •
.llJ!l? t.O It 0) "? •.:; >h ' t 0) t.: -:d o • .::? l..fofi.f!~ll/tt
!r,i1i lJI€~tJ'. i'l<il:!, 13 1b:!I!O)HJi\\n• s!.J:'ll:l! iJI€~c~· ~ . ~~" u~:1~-~~~~~W€.::0)1"0)1tJl~SW -~ ~ -~~~~ch6.::cW~861- . t5~~~"'" ~
~u.•RttcO)•Jifttu~•.::t~~~>~:m~~.- . •
x 61-, rlt- ~ O)ftii\\tJ•.:; !.ill~ t ~' x 6 t ~·? J1t .g.l: . 1" 6 tJ tt ~ t.t IJ: '' • .:: ~.:; 0)3()!0) to~ O)bii~ t lt~O) li'iti! IJI€~1:MT 61Ul!!'i"~U1L..D!lO)~fllllf. llli t ''
~fr>~:~~ T 8~fiff;;~;;f. - 7 ?~••:tot.-;;~;~r~
l: "5.:; t t ~~~~ 1- tJ<to ~ •:tUEI: A 6 . l"O)roift '!: !li>~ ' T ~' .. lit • •x6tO)~ti , "" "' ... j(;t • JlO)!!ii\ ilii tJ' lt~{t~~toJ:?f,j:
1>11') '/ "'l- 0) ...' ?- t-""'"""'i
~ ~f - o
A6 r 34."""""'
ll/ j C ~'? ffiii\\1.:: ~6 .::c I.::J: "J T , 13 SO)ittt~~~.:: M [.; "'"""""""'
6c, J: l:i'l<iJ:!'I"' ifllb :!l! tJ'~ "J T~· 6.:: tt=•~tJ· Ii~· ~.- . fl,O)lll!liEll6?11.J: ~I/ ~ t:~ill=Jl t i5U?'' T '' T ~ O)Ji t O)~. JUnit;j!!0),,1 ::t •h ~< c~ x~ti••••t.: ~?
.:: t "J T . 13 a~~e~u: t,;: •.::t '!:~lili ~.- J: ?c T •lith ~
*'-T'~"> l: f ~ 6i'l<il:!'l"' l3 1b:!l!~suT~m~YA6.::c Pli~O) ~.,.,.
,..- u: ... f!j
.... >~:~m i-T••61:ttJ•tJ•t.>Sf . /ill t; lll€ tJ• . I.I;j!i t Jill~ •• 6 ,, t.tll~ t ll!!lf~ O)/\ 1 :1') ';I f<~.
BA "J to.
lil:. "J ~ < t.> ;/)>IJJ:? tli~ ·. ~ ~ t.t.:: ~ijO)tJ.g.t: t "J ~t:IJll~S 11. 6~ Ell (.J: . !!H: -'J' i!ii O)n!!ltJ' t.O • • to~'lii "J T 6.
fiffO)~m~ < ~~t?t.fr , W~frYhS~6 . ~0)~
cts~.-~·~ Ell tJ' .llll!s t.;:~·it~·~tA6 . >ln.. i'J<iJ:!O) "'.:Z.*'ttT6<' S•·lll-~IJ:.::ciJ:O)~•• ·
••6C''?- flon"' .::? ' ' ?it~ C tJ•± * C I'J' ll!!lf~ C ' ' "J to tJ 7- :f 'J- tJ<)i [.;
to 6t,O)(.J:Jl~. ±*O)ilJIJ?tlt, A6~>1.tlt~tiii!ii. ~
~~~' t ~·? ~~!r,it,;:~fttJ<, to • to • ifli.l!irol: tAT (.J: .:: fl,(:W.to t, O) tJ<jJI~~ C lt~O)I\ 11') '/ f<(: t h.:;~ IJ .g. "J T V'C. C ••J O)U!Jl >!;? ( IJ J:(fT ' ' 6BO) '!: • l:
mtiii!iiO)ilJ~?t~~ • .::~sumM~s*•O)••~t?t
••t~·:.t.:tt~ . J~ng J: O):Jtol!l1ltli~·~.-. f~t.>~n t 6 . ;Jil ll3 t: a6 r 2o.$ 'a v:--::.-3:--Jt.t , 10 /ll!ii.ITO)v:-- ~~'U'c?O)tJ7-:fU-~ll!TU~Ti-*?.::ct~81J:
IIJ i-T ~ •6 . ~O)roH.Iiii\\t.J: ~·~~, ~- 6 tJ<, cl:tJ• < V t
!!Ill!!/ If. ~• 6 . to t.OifliliUl!!t:~liT6c ~·? 9Hl//O)~f* :.-3 /O) J:t: *.f.;;!;-Jt - v - 'T '/ ~ O)§*"~tJ< ti "J to ' ' 1-, * C • •J f ldl tll 1-tol:.l l: . J!j_ (:Jl\f< C ' ' ?t.>tt t: t• •
?O)f&pJi >~: ~- :!1 ~~~= ~ x.:; ~t,;: < >i "J T~· 6.::c t.t*r.,
t.: tt tJ' . .:: 0)~~, •t&pJiO)ft• 'n >~: iJt~ T, ' • 0) ~a • . t, O)~a., 6 • .::O).tf2(i 5/ll!i?tlll:A "J T:i:i*0)3?10) 1 '!: • ~-.,--.,,.tvt•f.::?••?•t••J>~:rntJl
fJ~ t,tl..' o -l '-I..'-'-\.
M~A6 . Vc?O)f&M~~~f~O)~t&~.:;~.:;~.:; t,;:
~ 0)*5~ • .:: 0) J:? liiii~Ttt.g. t ' ' x 6 t 0) ~(.J: , :i:i* .5 ~ . jjH;O)~ W;tJ• ST6cl\llStJ•(:HI'!*{ti-Tt:iiJ , {;!- .2 = ·;~ ~ j t 11'!' ,;: .::c 1.::1- T•• 6 . :h 7-:f 'J-I"<lll6~0)tt~
7'17' 1' 7'tJ' Xi.J...~~T • .fJ' x "J T U!Jl'!: JIIHt~itto•J ,
tJ' Vt ?0) 13 !r,i ~.5 ~.:; ~ T '' 6 0) ~(.J: li < T , ~li T 6 ~V//3/ O) _.,"'"'tliO)~ilc•
. .
n ..,_ .. • ?llt•!r,Jii:fTut:h i**l: l!hto~ff:~t:itt.> "J T , rU~Jl .l= ·;~ ~ J ~t.t . ~
l!llti:~'!:ft "J n'6f?~t.t1>t.;: < h• . *14H.t , ll~. ±*.
~mU~Jlt:p;y~ 1-toJingtJ<ii:itfl!l~.:; ~ 6.::c tJ' !9•• . itT••• . i- tJ•!- .::0).~'!: 13 ll!TI : 'i" "J T*Tt , l:.:: '' t tJ•$••t '' ? to~~!r,Jii* 8 ~ O)fVi'l"', ~li T 6 Ul
~mtiii!ii, ~SI.:: i§/11 , .... #litb • ?J: ? >i:h7-:f•J-
r29 . ;;!;- Jt- :h -;;!; 7 -)~ J (,j: ;;!;-lt-v- 'T ';I ~ O)Ji l: t: t ;;~;- 1 t- v- 'T ·;~ ~ ti IJ: ' ' • t ~ tJ' r..'ll.lil: IJ:.:; IJ: ' ' 0) JlcO)~B!r,Jt..:M~flllff,'!:~ .Ell i-T , .~ftiJ:Vt•t•
'!:~xT . I3?1~"50) ~ ~T6U!Jl>!:? ("J ~~~M~8
Y7';;!;77~ ~ M~~~.ro~'!:~-~ ~ T I3 1b:!I!~~M U . .:: O) .tf2tJ< ;JiliJ3~iJ!O))t ~ itt '!: lol•' T t:i 'J. lit<\ffJIO) IJ O)!l!ltJ' J!. • •lll ~ ~ T ,, 60)~· 6 .
6 .t:? t.:: t,;: 6c A~· . ~ ~ l.t~m~ < •J O)Ji.f!~llltt~~
~li "J ~ t O)~A6 . H~!r,J~•Y~6c.::~uil:!~•• i!tJ•S Wt ~ S ~ 6.::c '!: 13 !r,J t L. T '' 6 1'J'.:; ~· 6 • .:: ~.:;
A6 . :h7-:fU-O)JlWf~~U "J Ti-•x~ . vc•t•
t ''? :i:nttJ<A 6 .fJ'.:;. Jl~O)Jil: tJ<;J:iif,O)-llJ!t: 1i "J T Ill ~~ t 1.1~ 0)1\ 1 :1'h f<~(.J:, ~~ t !-TO)* 8 ~ tJ<
IHJJR!i
~O)U!Jl>!:~-T6~A~TU - ·~$Y6 .
''6J:? t: .ll x6 . 1 ~ 'J7'.g.~~§O)Jt~~. 7 1' 7' ·;~ ~ t.O••to ••mi "JT ' ' 6 0)~ . 1!111!!/lf.IJ:~~tJ< f< ·;~ • /:1 ~ ~ A'I"' 'E /O)· · ~J:6. ~ 0) J: aO)~~~~?~.Jii:·~
.>111< ·1 :-- • ~-•3-0)lt~ l.::l.t, ~O)J:?>ifi.f!~MI
131b:!I!I.\IO)Ji J: tJ<r ;;~; ~ ::J- ;;~; t: li "JT ' ' tor 'J / :f ·;~ T. ~ ~ ~ ~ Vc ?O)it~l:t..: ? H • 6.dl: .llx6 . t.J:~ S >!: §!. 6 t r t ? to• • li• •J t ?, >,~h T '- * ?J:? li'
CROS S-CATEGORY
and these can be seen throughout bureaucra cies and the buildmgs of Made in Tokyo. Examples of cross between retain ing wall and arch itecture,
26 June in 1976, there wa s a highly publ icised fighting
academy. There are many problems stemm ing from th is Examples of cross between infrastru cture and architecture' 34. shopping wall/mall
match between Muhammad Ali and Anton io lnoki took place.
situation , but the most immediate is the fact that a single 2. electric passage 50. retaining wall apartments
I was very keen to discover whether boxing or pro-wrestling
location cannot be thought through in its totality. There are 3. highway department store 64. dam housing
would be stronger, but the result was a draw, and the actual
countless instances of the env ironment i n fact being 29. super ca r school Even in the landscape of Tokyo. which is so often claimed to
fight was not even interesting as lnoki just made low kicks
aggravated by being fed with uncoordinat ed ideas from 68. heli-warehouse be 'chaotic'' a certain environmental coord ination made up
from the mat to Ali's legs. However, thi s kind of cross-
differing fields, let alone monetary wastage. So it wou ld be Examp les of cro ss betw; en commerc ial structure and of categorica l crosses between architecture, ci vil engineering
category match breaks through the sel f-referentia l structure
good if we could create and mainta in our own environment architecture, and geograp hy, Can be found . There is a clear logic in the
of Modern fighting sports. Instead of each type becom ing
by losing the strict def i nit ion of suc h categories as 5 . roller coast er bui lding way that differing activities are brought together by physical
more and more clearly defined through comparison with each
architecture, civil engineering, urban planning, as well as 6 . neon building conven ience such as scale and ad jacency. We can see that
of the others, it tries to return to the essence of fighting.
advertising, agri culture and geography. Th is is the cross- 20. billboard apartment house part of Tokyo's dynam ism is ordered through physical terms
Modern city planning is of course not the same as fight ing
category match of urban production . If the categories can be Examp les of c ross between co nstru cted ground and rather than the categorisat io n of contents . We st art to
sports, but it also evidences separations and speci alisations.
c ros s- bred , the too ls for organ i si ng a c oord i nated architecture, recogn ise the unexpected interdependence of activities by
The strongest separations are between architecture and civil
environment can suddenly increase man ifold . This kind of 32 . graveyard tunnel looking at Tokyo in th is kind of posi tive way - as a cross-
engineering, or between architectural and urban plann ing,
cross-categorical hybridisation is already condensed into the 45. tunnel shrine category match of urban production.
022
023
 ~B~#iillEtJ'JfN vr ~' {1 o t~ tJ· e,?f. {1 pfi 1.'. "5 .t -:o c G
-?tJ' iliiB~' o ;:O):/I ·;t ~:J-;:1;:$f-O)!illiWJ~I:I;t , B O)~i\''fiO)if1' ;:I;'O)IliJ~I::: At.: -:o <~'{1 0 ttte,uilmc~
f.:T~r::Jtf.;:l:tJ•?,'j]1jl_){ll;t;,.tJ<f..-e:tt l~'{l o t;: ?.'~
J! IJ f ttlET {1. C ;:( t:'- ~ t lh 1 ~ ? ;: C t~:l: ttl~~ ,;q;::u'J' e: <. 1KA c ~ .;q:::l;t::k 8 <. lt~O)J'l~l:t.
Bt t]1jl) {1 OHt. jifjEO)fllliJ: c ~'? J: IJ. !l!l:lliJ~' -r ~' {1
~r.,.:* ~ e: 'l"'~tJ' Il'l t.: b'?;:.: t~lt 7.'~-ttll<~'> tt e, t.:
r 13 .'' ;:( §Jtl!!J l;tfi~ ,, ;:~; 0)-*JlO)J: 1: . :1&~0) '1 -t 'J ~
:J:"50)~~~t . fii'!iO) ~~ ~O)~c < R~I3~~A~it.

(;:~; -~~-. 1' :..- 7

1:. * ~ e: 1: J: ? l 131b!Y-J
"'1.' . ~;: t tJ' ~.,;: t ll'l t.: ~u 'J 7' ? )
·~ 7,',~:,{1 ?.'l;t t
0 ;: ;: O)J:?
- L. O)fi~tt~tJ<lJ? t 0) 1.' &, {1 0 IIJ~O) 1::1.:::. •;t ~ l;t I~ l:l.,ZL,:I:? o >11' ~ · 1' :..- . ~-~3-l:l;t;:O)~'J ' = ~
~~t..-{ltO)Il'J±O)~U?8Ya<ll.>e,ttzGt?;:cff l3
~ ~if1':KO)~~~~~G<.fim~~<~AG~t0)*
lbR.Jc~~? o t;:~fimO)~~'I"'ti•O)~-~~J:
l:t.;:{lc;:;:l:2f>tJ<tiiJ<~'>e,ttz~,{l o ? t •J . tt~O)Arr h e,tt{l o
{J~~a<~'>t::k~~mu~~~-~-?.'~~IY-.lt..-*•0)
~- ~UIHfl(;:l;cfl'lt.:t..-O)?.'s{l o fi~tt~O)~$if1' fB . i! ., 7 ;:~; ""F.!f 1:::' 1~0)
t:: 1~ J l;tfli!iliUlitBIJI::: he, tt {1.,.
illlli'l"'li~tJ<~jo T {l o ~B tl'i~'~-3 ?c"t {l~ilft.;:t
XtJ''' ;:1;0)* ~e: ?.'~<ll.>e, ttt.:c T{lc. t..- tJ•t..- tJ• 77 ., V c? t~tJ< , ~IIi~ c 1:~>:.- 6Jl\1§1;5tJ< A -:o < ~'<. t tt
?.'O):t!Jit:tJ. ~.'l. I'J<:tJ<, -~O)~U?~1Hi!fliG<
71.'.f> {1 0 r.: ") t- -if 1 "A' fttO)J!il;t e: e, I:'J' e: f,j:1Jil~l:~l! e: tt z ~· {1 o :1: e: 1:~
~llfiiiUt ct.,< tMtt f.: f2 9. ;:1;-H- · 7J- · ;:~; 7 -I~ J ~• O) :I:!i~A{ltO)O)::k~e:ue::~:~•~~~~O)fi ~?.'A6;:0)1Jil~l.t.tO)J'l~O)t~l.t~?Ah,-.;: ~ ~·
f2.I v7 ~ h7 · J~if- :/~J
1
IHliJit~O)f,k.mftJ• e,""'
1.t ;:~; -1~-0)~J:I: l31b-**.U!'Pfi b'? J:? 1:, :1: -::> t.: < m.: .It ,.;: nH!iiY-1 t,;:O)tJ<131bll&%li <' e, ~'O)if 1' :K?.' s "5 .t ?~A {1 c tJ•. ~-T c 11!:!!tJ'ilf It {1 <' e,~'O)* I e: t.,t;•
83 :l:?.'~~~iliO)TI:'j' e: f.;:1lUU5tJ<ttA.?.' A -::> "l ~' {1
Jill~ f..-~\ t 0) tJ<f.:. f.::l:fl'] [.; i!iifll;tfi ~{1 b'? ;:,: ?.' . -tt~~~(Ae,tt{1131bll&%li?.'A{l~A f,j: ~ ' o ~ A. f,j: it~?.' tQJj\0)1Jil~~ c Jm~it e: tt {1 f,j: e, li,
~- Jr.. ·
tO)?.'<f>{l o !;5iifiO)!tfrr8u~~O)~?.'~<~'>e,ttz~,{l ~ 0 )fC. '-. t-
ne,tt{lm~~~ftO)A~?.'s{l o
0) 1.'. t tt f tt 0) 1;5 iii l.t * 8 e: 1: ~bit -r. &, {1/;5 l;t 1 ;:(
f3 9.lRO) *- L.J l;t fl.~;)i!JlJ~O)lJtO) *- L. c ~'-::> [., .t 1:
• •J 9H!JO)fim?.' l;t A e, tt t..- ~' o t tt IHJ!mO)~~O)il ~f,jj l;t1Jil~O) 13 < {1 <I'>( lilac~'? :iE'*~filll:li "5. <;:

~": .~: {1 t 0) 1.' t s {1 tJ'. fl'lllij'l:fiml: t.: t c iilin -:o < cl:t..-{l o e::kt..-:t7f;:l;i:::'l~?.'t. ,J,e:t..-~:..-~1~1:::'1~
H/~, S{l/;51;t4;:1;H/~c~'?1J•t.:"57.', ~~O)tiO)
•~tt~tJ'lt-re,ttf.:tO)t~tJ<, ;:;: ?.'l;tll~tt~0) 1J!i ~ ~ {1~ -,-'- .. tJ•Sjo:l:tt{lit~'?.'tA{lcllatJtt{l o
~~ .,. t.: ?.'t ~'~'1J' S, t h t~ 1j 1 0)~~1:aB~itT ttli.6!1l: G<
~s{1:97~-~-~~~.tttcll'Jt.:~e:7.'77 ~ ~7-t ci~B$7.'UIIll•cO)~W~J:~~~-r6;:cu"e:tt [.,:1:-Jc;:-?tJ>;: '- v T , / ":911'0)\Slh?.'tA{l
.. -'J' o t~
~ il x .i! 0) liliJ 1!E
, 0)'-'"I
~T 0) ~ ~ '~ 8 f !Ill~ T {1 ;: c 1:
"/
t,;: {1 o
-L.Y?(e,tt,e:e,~tO)J:~~-~tt~O)mMG~n ~e,Jllili/;S"I.t,il·O)~*~A.t.;:::k~e:'I"'B?.'A-??ct:i
.?.'&! {1 iii~TI: 7'H- H: 51 Itt c e, t,;: ~~~~if-:;~ n 'f..- ~ ' 1'1'. lli:!l!!tJ<~~'li~ IHH'&?.'~ {1 t~ lt::k ~ < ~<
~.i!i!TtJ'~•JteG-r~'{l o lJt0)77 ·:t ~7-t-L.c, •~ J:?c-t{JO)?.', ~~c~~O)r.JI:mttJ<fi??.'tt..-~' Olil tJ>. ~\f,j: < ~;: ?.'t A IJ it. <I'> {1 0) t~ o f9 . :tJ 7 :t'T * 7-l~ J
tJ<,ff~P!e:ttz~'{l o f5. :/I ·;t ~:J-;:1;:$f-t:'I~JI;tBJ1J.i!
tt~0)9Hl6.i!i!TtJ<, ~ 8 e: e, t., O)Jili~~~~llll c ~'? lf~~ IY-J tJ<fi? ) T~r.,tJ< ~jot.,<~'{l o ;:;:ffi~'f.:(t.;:{JO)t t;: tt c ll'J t; Ill(~ 1.' 1.' ~ z ~' {1 o 7J 7 :t 'T ;f, ., 7 ;:~; t 7" L..-
•J l:iG -::> "l lt?~20m~ e: 150mO)lt• ?.'. ii~llllillltl!!
t..-lliit.ltl 1: J: -:o <~flllii:Uln tt n, {1 o SRtJ• e, tt!Ji.o~ o !l!!fllljO)~~ ' JIJJi;: 1.' l;t ~rt.\0);: c t~-? ? o t:i t e, <131bll&% 1:::' ~=? _ :tJ 7 :t'T < ~- :..-. 7 -71~. 'J 7 c ~' -::>
~ H~t.l. tO)~J:O)~ e: tl'i ? l:; I ';/ ~ :J -;:( :$1
7'-
0)7-
~1-'l;t? {1 e: ~' tJ<, 13 ~O)~~O)iliJO)i!iiT?.' t:i t., -t>,..;: •J t., W~t0)8m~O)Vc??.'A -:o < .~~O)~Ji;:~ he,tt6 ·~ J-'*li:<-~Y1.'~6::k~e:*Attl.f+~?.'
f.:'j/.-,..7'-t TM"o!C '-'-

t,;:t;<e,, llt-*H'f?;:ct?.'~{JJ:?t~ o rso.~il:~t.-­ Q~~ -::> ~~-···~ -::> ~~T6e:t~tt.;:7o#-~ • {1 0 :tJ 7.., ., ,, , ·;t '"'~O)•.o..o.
- +'-"" / ~ ;:O)~'J'1Jil~O)~~IJI;tl!.i
ttcG<±i!E•,;s'l"'t.-;:~;~7:..-t~t;~~'lt•tJ'? < e,tt
... c .

'~ 1:::' I~ J l.t ~iliO)fl!!TH:I: J: -::>"l tl!!J:I:jo [.;f.: Jill~~ 'lli:fl!! , .... ""_..{1-ctJ<~~· 11~
3/0)§IJJJI&%lil.t. "tlr.lf~<ll.>6;:c ~O)MEO)~~ ~O)t::~rf:..-'1:9170)~~~~-· '-
f.:O) tJ•, t tt c t ~~'it.tJ<,Q.~I: t.;: -::> f.: tJ• e, ?~ 1 7.'1::;
0

I ';/~ :J- ;:( :$1- t @it {1;: C 1: [.,f.: 0) 1J>~ fJ> 7,' I.J: f,j: ~ \ C;:
AUTOMATIC SCALING
Because of inflationary land prices, there is a 'void phobia' in
Tokyo, which instils a reaction of 'what a waste! ' when we
see any unused space. Everywhere, the desire to find and fill
gaps can be seen. What occurs in these openings is not
usually related to the function of the host facility, but rather
answers to a super-rationalism where the filling is matched
to the gap simply according to size and proportion. let's call
the idea of the chance meeting of differing objects, purely
given by measurements, 'automatic scaling'. At this point is
born the kind of building with unexpected practicality of
adjacency and connection, boldly ignoring and jumping
beyond the history and social mode of the city. The
knowledge, invention and imagination summoned in fully
utilising these spaces to the extent of stubborn honesty,
024
~.~O)m-:o;:O)J:~jo~{l~Jii:O)J:?~.jottt~•• l: >t~,t..-~' o lltJ•I:tn7:t'T# ·;~ 7;:1;ctJ'. lili&~~• ~li. :IJ7:t'T# ·;~7;!;1J<Iil{l:ll:l:ttt.::9'7-~. 21!10)9~
?.' fti t..-SR t:: ~~~ 1.' of> {1 o ~i30)~ t ~' -::> l.f~'l:fi~'. II . ¥:~&>:.- ~tJ< . t? ~' -=> t.:fii'!iO) -r ~ r.,,:A •J u,c t.: <~'> ~iiiT~?.'nll:tt,-.;: e, tt t.: 7' ~~- ~~. t tttJ<e: e, I: f.!; )I
makes possible new urban relations.
maxi mum util ity from these void spaces. only be utilised by cats, are the result. With the high price of
Examples of auto-width:
land in Tokyo, eventually these spaces become desirable tor
2. electric passage
PET SIZE use. Maybe the vending machine is a kind of saviour in this
5. roller coaster building
The ci ty of Tokyo displays a whole range of sizes, but as a situation. In particular, the very thin or very low proportions
13. bus housing
spec1fic characteristic, items around the size of a vending which can sometimes be seen are probably because of this
60. sprouting building
machine can be pointed out. In Japan , vending machines are tendency towards filling all gaps. Other types such as the
Examples of auto-breadth:
so abundant , but they are not nearly so visible in other karaoke box, car parking machines and signboards have also
20. billboard apartment house
countries. This difference may be due to the extent of public developed a unique size so as to be able to slip into these
29. super car school
security in various cities, but it is also due to the nature of spare spaces . These items are a bit too small to be
Examples of auto-length:
the sense of scale which exists in each location. For . d as architecture • but a bit bigger than furniture.
recogmse
39. apartment station
example, the urban code of Tokyo stipulates that neighbours They are the kind of size which can exist in the corner of a
In other words, there is a prescription for 'void phobia'. We
must accept any new building work if it retains SOOmm room, Or ·,n the corner of the city, turning the urban
just need to find anything of the right size, and try to till the environment into a ' superinterior'. The items' constant
distance from the boundary. Of course everyone's site is too
available space. The insight of the urban observer is tested in suppleness to fit their surroundings makes them like the pets
small , and so they try to build to the maximum possible
their sense and efficiency in working out how to gain of the city. So we can say that smallness= pet size .
extent. Tiny slivers of space between buildings, which can

025
 it 1.-T ~ll61iil'<'latltl. bt- 71~!1:! C~ 1 ?Af;t:. tliJI.t:
T~ -<> o rs3.-": ·:; ~~~~1 ~ J ti.::O"?XCI)ifit:~ :J: h. f.::
1
.:, Jli 1.- ~ IJ!J!IltJ'ilHR ~h..:, o A" t: J: -:> T2i!~flll c 1:: .o.
f; t.> it -r t Cl)jlf;CI)Jf~itti~-<> o r 11 . *~fi !:'" J~ J tHC;j;:
fJlif~CI)~'J'fiil!!t:.rz:?lt~ <' . t CI)9~Vt: li ~:J: ~:J: -"7 :..-~-": -~ Cl)iitf; ti r~illfllllmJ Cl)ll£ <?>c ~.- -r ~ '1
Cl)ii;~ lil!!1i!liCI) f.:: II) t:. +itt.. Jlj :IJ Cl) >i ~ 1 00CI)*~fitJ<Il'J
:r/CI) ~ lbllli~l§!tJ<5ft IJ M tt" h. l ~I{> 0 ~~~CI)Jjl ~ ~ 19> ~ tt sn. ti ~ 1/)T ~~ -<>CI)<'Ii>i~' tJ' o
~a~t~z7t.-ktCI)ca-<> o t:~*•w•n•~CI)~
t;oo.v•awoo~~~ffi~~-<> o ~OO~CI)2•t.~
t: t Cl)~:(f~ l i * ! <. ~ lbllli~l§!t: J:-<> 7 J' if-
~ili! *·:; ~ '7 - 7 Cl)~itti~mt:m* >:.~$' t t.:: s ~.-.

~~CI)~*CI)MUCI)~m~*CI)Vc?ct.. -:>ko ~1~·

CI)Jl6Ji f / ·:; 7 ~.:, f.5tttJ1t 1.- nt.. ~~ 1.-, H' v cCI)~fUU<
1 / . ~ -~ 3 -CI)it~CI)~I( "?tJ•Iit?i.-f.::~ i'\[ f &~~

~tCI)c>i -:> -r~~-<> o

~t1 >i *ii'A'tHi '! 0 - J{ )~ >i llilitt: tHHl'CI)Jf~it c ~I~
r 1 6.~-51'7- J. r 1a .~ili!::J//v ·~ 7~J. r23 . 1i:*~
t..~ltJi o ;:n;; ti~'J'tJ'lt~~Jl6CI)II!!ititt:~nfdJUc
.:ll:1f:IH: li. i!~ c ~il.i"JIJICI) X v tJ<!£ t.,· ~ "'<"CI) J: Jt15J~J . r2 s . ?7~-t:J~J. r 26 -~ 5 -:; 7517 -J.
?>ifi•wa.:,;:c:t•~tt~-": 7 ~lt~~.~mc!E • r s9 . i!fll~9 '7 :,..j , rs1. TR CJ o ii. ~ 111*2l!c~~~llll
CI)~•CI)1:..-51-7z1~ct.-T.#;t~~:..-51~<'~U ~ f1itt?n~ca-<> o ;:n.s~.~•~~·~111*~-~
tJ<, t;:t:a.:,::J/7:1-CI)~ I( -:JtJ•t:~ojH!HJi. 7J~~if
-~>:.it~CI)~~~m?vc?CI)lt~~~:..-~tB•~ -<> -. 97~-~~. i!fW,mti>:.cCI)~m~Ut*~-":-~':
·:; ~. 7/7:1-, ;tiiJj~Jt;;_J~tJ<Jl~t:i:!J~-:>T, *.UPJi
~>i-:>k~~CI)tCI)ca-<>o::J:..-7:~-~rot~n-rt~~
>i -:> -r ~I 611 ~ <'. ~ 111. li A c ll'l ~ J: ? t: it~ t: li J... 1.- .
~'1'=-": ·:; ~if1 x o 1]1 ~ ~ 19>~ t:~mCI)t.. tJ·c ~ ~~= • ~ o -/t. -:>T ~~c~~>i6t--~~~•-<>~3~~t
f.:tJ·'>. ii!•. *i!·tJnt..cCI)~fAit:/771:..-~ntt. -<>n~-<>if1~••CI):J:!~a ~ tt-<>;:CI)-": 7 ~~>:. t ~it~-<> o ·~J:?~J: -:> t~.*~'>~~>i(Tt~~t
Ar•H fill//) -<>~'J'if 1 XCI)J.Stt~r.,t: t..-<> o rs2 . ~il!!M
Cl)f~mc~•CI)1:..-51-7z1~ct.--r~~ . ~m~ ~ Cl) ffl tJ' JE it-<> tJ·t ~.- n. >i~' o • ' ~ IJ -r l3 ~CI)n~t::J...
~J~-~CI)fi.~·CI)·h · ~~~~~tl.k~~~~"?~
fM~~>i-<>J:?~~~51<"1X~-<>i!Acl-T," ffl~ __
~tl..\?"./- "I
-/ ' A~..,,_ -"""(;ttr(>i -:> L~'6 o ;:?1.-f.::
li~IJCI)"'::t~7ca-<> o tnti'J'~~~~~~f.:tJ<, J~JIH:
/ I J <-I.-'-- .,.

~o-/• . ttt~~~~-k~5~~.~-•~CI)J:?t..
ttctt.A c ~*~ ttsV'? tt-<>~~>i 1:..-51-7 z 1 ~ t:
~-CI)Jf~ti;l: J: -:>L , )l~ f ~~~CI) · t:.:lz:.il{Jt:tJT I} 16
>i-:>T~ 1 -<> o l!:t, llilii~tl.k~litiili"tit:fjl*~tt. t
{;;: c <' • ~Jl~t:JE I}(< ~~~~iel!ft f ~mt:f;t!JO~ {> o
h.tJ<1j1~ IJ .r;St:tt U', • -:> C i}:i'ilt: f.:: C IJ. ( C ~~-:>f.::
ili9~tJ·'>CI)*~'=· ••CI)•IJCI):J::J:CI)~f !!it f.::~~.: ~ f>llll6<'ti , tt•. 1lll. fili~CI)fritttt..cCI)i2iiJitJ'rrt.>tt.
i!H.u< c "n. -r ~ 1-<> tJ'. ;: ;: <' ti ~ili!CI) •r.,rriu<~ 1-:> ~
-:> f.::'>, §~~~ii~f:iE-<>cJ:~I o :1-~3:1-1~1«/ ~ ~m*•CI)~ili! ~ ~CI)•CI)::J:..-~:..-if-CI)J:?~~~~~-
~ "tJ'h.T. ~liti~tJ·')i![PJiCI)jt~~ilfli~~h.-<> o ;:
1

ca-<>••::ru:..-t:77~at.>it-r•~~tt.~ffl••~ "(~1{> 0
ht..~·ilf·~~7k~.~~~~h.kifi:MM·~~;;;:
111. t;il£ , J l l>ict•·L·t:A:lf~iiiD~ttf.::§~~~i!~ti . ;:tt~ML--r~m*•CI)~iJI! ~ ~CI) · <' ~ I!J*W-IIilg
t JilLiL~-<> t Cl)ca -<> o ~'J 'if1 XCI)"' ::t ~ 7 tJ'. tt~tl!!
~m~/771:..-~nko-:;-::J-~51-CI)J:?t..tCI) ~ <' ~-<> t: ·:; ~ 1 :..- ~fAf c ~.- -r •.rz: ~-<> t Cl) t • -<> o r 10.iii
c.e•CI)~~~M~.~•CI)m•~t;:CI)•~~tk'>t.-
<'. {> 0 t;: tJ•., li • • CI)il!!Jf~ c !:'" J~l:fCI)IJilif-t.: tt <' t.. <. iT ~J~
""'"':iE~t--
~~~t~ O -J~t:'JL-jl;t§~iifiil_if~t:~.,._,.

Examples of spatial dice and mix:

Tokyo, then driving along the expressways would be highly order to allow the execution of the highly developed goods
8. sex building system connectmg organs for the city. For Tokyo, which is on
recommended . Because the expressways were constructed in transportation systems . The organ which is abruptly
9. karaoke hotel the brink of sclerosis, it is apparent that Radburn's planning
a hurry to be in time for the Tokyo Olympics, they are mainly connected to the artery and the pump which pushes oxygen
11. embassies building theory of separating cars and pedestrians is completely
sited over public land, parks , the palace moat and rivers.
44. m (lege office) Impractical. By necessity, cars have entered into the realms to that artery is exposed and pulsating in the urban
They allow views of a raw Tokyo like a roller coaster plugged .
env1ronmen 1 as a single entity. The architectural design of
52. residential farm of people. Previously, the criteria for comfort was seen as
i nto the city . It is possible to glimpse parts of the this revealed figure is also exciting. The development of the
63. pet architecture 001 separati on of the traffic space of cars and trains, and human
mechan isms which support the huge logistics of transporting logistics network has affected a huge change, and is one of
Smallness is a size which allows a freedom in urban action . space. But now a mixture between them occurs, which has
people and large numbers of physical objects. What Le the defining elements which has shaped the form of the city.
If we consciously consider the abounding pet sized objects of become accepted as a new norm . The contemporary principle
Corbusier looked at with the planning for Algiers and Several of the build ings of Made in Tokyo reflect this kind of
Tokyo as an interface between the city and the human body, IS about being able to clearly imagine how to connect to any
Marinetti proposed in his Futurist work. becomes actually change and beautifully condense the dynamism of this city.
then our urban environment can become more and more particular location, and have easy access to the goal.
comfortable. constructed here, and linked to make an extensive network.
Probably, the people of Tokyo have accepted the mixture of Examples of buildings united with the expressway
In Japan, the 20 or so years between 1966 and 1988 saw
traffic space and human space, almost as a version of an 13, highway department store.
LOGISTICAL URBANITY the number of cars increase by 6.25 !1mes, but the length of 'urban regulation'. Examples of the integration of architectural floor plate and
road only increased by 1.12 times. Transport infrastructure
If we wanted to show a visitor from another coun try the real roadway:
which allows physical distributions is like the blood vessel
026 In this way, traffic space has intruded into architecture in 16. car tower
027
 l' If~ CI-J~ ::IJ-~·t,; c -t (J)lf!fb!UttJ<Jiltil! L, . ~ S 1:
t.l ~· t~ c\'> 1: , A Di-1!!§ l' M '5 ~ tf S h t~~IIJ(J)TI;:III flm~~ (J) - J U . ~~7fl;!i L,t .1 /~ 7t7?~~7(J)-T=;;r.:::~
-f(J)~~-~(J)••wnM~n~t(J) c. aB~~~~ t> r~ffJ '(' f ~~J (J) ~Ji t :~-:h •H• .Q o
~t (J)l' A.Q o ~~(J) ~ ~ (J) ~~'\'i~6c t., ~ ~~ ~~
iST.Q~~il'H>.I.I~b • ;t.Q o f 28 . Gs-· ...,. .~~ e (J)~ath? ~ T .t(J)~i!ii t ••rra ~ ~ ~T -~. t L, Tl f ~ - ~~~71ii~V75:il\? ;;r.tJ<,
T~ ./ l..- •:- 7 ;;r. J
Tl: ~*iitJ< A .Qc l;t~p~ zy ~ · ~~ .t: :;l;:! < iiH~ l.,T ~#- ~ 7 1- ~~~ .t:fi t.; .Q;:t-c . flm(J)~~ii *(J) M i!iii"ffl t.,t.l # S ~8 t.,~ t(J) 1' A6 o ;;r.#- ~ < / c
u~-2.1'-Q ~ ~?(J)~~-thfh~M~ t., ~ti~~
;..-;;r.~;..- ~ tJ<, 11!/l(J)t~tcl'~TI:flM~h . ~ S I:t(J)
1), -~~ltSft~;j;-J., 1..-;;r.(J) ,j>Jifll ? ;l<ffl: f.t-:>
~:I' 1' 1: t. ~ •iiH .liJ S tJ 1: 9 .Q (J) 1' A .Q o • • t nt~(J) ~ ·? 1:: ~ :W(J)IiJ~tJ' *., ~ "'llli t' ll!l n n t~ * 'l ' ~ :~: t :~: t.>
' ' .Q o *(J)park (ing ) cA(J)park , 2?(J)H-7(J)ll/l 11.\(1)~1' , --~~tiT ~ t~ •J iE ~ f~ IJ L, T ~> .Q~t;ttT t
~~?~~ ffi ~~-~C ij,.((J)ntJ.lil·i~8i6c\'>~
~~ti~~:..-•ti(J)~71;;r.tnM~~~t(J)cA.Q o A .Q o
~~~v~.t:.{(J);;r. #-~UH~I¥,JCt(J)~ C 6 o .l-~5;;r. c .liJ.Q o 13l!!.J IIi!h • (J)r14 . ~~~7~7 ~ -t::
fs5. v"" :..- 7 ~3 :..- 11 -~ 71 ~ 1 l;t~l*l: ioJtJ•? ~*tJ' (J)
;:nS(J)2li~~ < 751"1:..-~n~.l.l~u.~~1 ;11~·1 / · ~- '\'- 3 -(J)il~l : l;l: , JZ;~ > ,lli!~ , ii (' i;JJIJ )~ J t;J: ~7 ~ -•.a(J)U§!t~•ti(J)~~~: :?- ·:- ~ "~r.,
;w;~il~1:1l!:~:nt~~AH-~-t-J~M!i~-c. i11~c;w;~~
~~tst.,~?c t., Tt . • t., Tm~t.,~~=~~:..-~~ l!llSfl.~ . tU! i t~ nt~ i-I!!JfH, ~:i:J...• J r.,il ~• lltl t., (J)Vj tWijD -:> Tmn~¥,Jt.t7I.7?I1tm~ t., ~t(J)ca
~(J)flWI: :1: ~h T~• .Q (J) l', ro i !J;c• •T• • T t .t:;: l:.l.l
;: c l;t t.l ' ' o zy if zy S ]i[JjH: li S:t 1!' ht~ t h S T~ T 1 ;... 7v - 7 1 -J ~ ~~ 6 o fl·i~~~c\'>6~UU~~~t£ 1', 8:l:t:l: f.l ;;r.~
~ C l., l (J) .a ;a tJ< • .Q (J) fJ>tJ<(.f C ;._ .t:' tJ I'J>S f.t ' I 0 ;;t. 7 7 t : ~ ~ T. ;;r. ~- "J cfi t.;
?t.ttfsn T~~flm c ~ · ;t.Qt(J)tlf~ ~ t., n • .QtJ• s - J~ "'lf~ ~I: M~9.QtJ< , t(J)IJU(J)"'f~tJ< ~
~ti·(J)~~U:l:~.~-t,;(J)~~~~~T.Q o ~-~ ~-!tf~t(J)tJ< Ji Sh .Q o ;:;: l' t;t,
A.Q o f T ~ T(J)i111;t~~flmi ~-'"' ' "' J .o. _ _
l;t ••? t.thli•(J)••-ca•J AD"""""'~ .. =
.>111\.ro> o '7, §(J)~IJk r 1. • • :::1 - ~ J t;t JR(J)jt~(J)··(J),lli!~t:lt ltS ht~ -T 7 ~ -·f±(J)~-~~c l., T'li~'fiJffl ~ h T~•.Q o f(J)IJU
' t<>l:>tVJr!\' ' "'""'f.ti-1!!
~· ~PIT ct?t.t tJ<-:> T• • .Qb•?;:c l;t , ~tlt:I:(J)M~ =~ ::J -~t'A 6 o "t-1'\'(J)CM l' ~R(J)M#~~ # -(J) tJ' ~ •1 nli~Y-JI: a•J .An s n t~ r54 . o1~ )~ ~ ~~7 " :..-
~~~.t:~· ilc~n.Q 0 ~l't.ii-1!!1il!il;t~ < t.t.QtJ<, *Ur•J:Il
~?t.t~MiN"tc~;t.Q o Vc:l:Ttht~~t:l:c ~;r.- ·;;(J)'fi ;fs 7v -~-c;;r. #- ·:; ~, f -~(J)~ ? t.t t::
t;;:,t:l;tl'!T, fll~tJ'~Ii.Q o ;:(J)ifJi!li~ iJ:'I"t ~< .
t'hTI;t.t:' ? tJ> c~;t T ~• .Q o
v~ - ~ ~ ·:- ~
llliit"'~-g.ittJ'fl~I¥,JI:rrnn.Q;:.t:l: t.t.Q o f 55 . ::IJ
J~1'1llJ [; I t: * IJ , :IJ- 1" 5 / ( jjiJt!!:.j'l. ) l'

f4 1 J.Qt~•?(])tJ< .IiJ -:> t~tJ<, ;:;: l't. ••tt;J::l: -:>t~ <llll

-~71;;r.JI;ti-f!!T, 1, 21!11itJ' iX:litr.5, 3 1!1!i~~tJ< If-'\':..-
fl\C•• IL.- ~ -~1: *1), ~-i!ij(J);l<~(J)-j'=;;r.::J-H: U;:(J)~ii~i!IIi L, T:t:;ij,~"'f~S8~~(J):t:;~~A-i
1"(J).I.I~cA.QtJ<, ;;r. CI -/f.t.t:(J) 1~lJIJf.til.tJ<t.t(, ::IJ
--T/')~-J~Jil(J)7L.- J., ( ff- •
1a(J)~~~~(J)T~ft!.~:~:t:~:t.t~~~•ijJ6:~: f>aij2?;:t#l' 86 o "t-1~-~~('~~T6!li!~i!iiU p~q: ;:.t:tt'8.Q o ;;r.#- ·;;, ft. :littJ' -•I:H ·:- ~- V
- 7;;r.tJ>J... -:> T••t.t•• ) tJ< 9~
~~Mi1~-VL,TJJ.~? o th#:;l;:!f.l.(J)A.Q~ ~n~;:(J)!l~ t' .:t:! ~ ~A-(J) ~ *u~~~h6 o
~l:b!!; l., TA .Q (J) l'' i!I~(J) t:: ~~~~;: j i . 1: )3 tti6A- l'~ I -~-teafl~~S U~t!!:-l'l- ~ ~- o f (J) ~t!!:-l'I- 1'Vi' ;;r.
s~~-71/~f.l.Qt.,,.~(J)•.Q~•t.>s;;r./-* - r 42. ;i1t::/ 1" ~'7- J I;t , ~ii!H7 5 / ~J~- j (J)~~
.Q o RM~(J)IL.- ~ -~-#7a(J);;r.5~it(J)~6l'~ 1- t;- .Q t
~ - ~ ? · 1 ·:- ~ !

~" o l.,Tfim(J)7;;r.7 7 J~~ 56 ~~nt~;;r.~·J- ~ r 21 . 1:..-~- :::1-~ J t r ss. ;;r.#- ·;; ~ •;.,vJ t;t . t n '*~~~iji;JJijD -:> ~7~~~- t.> ;f1~;...7a~Bi~
ili:l: •li l.,T~· .Q o i!iifltJ<,J, ~ < TiErr '-'- :..- tJ' Iiif* l'!
Sli, **''~•u~;;r.~*-l:f.l.Q o 1a(J)~b•? -f h liill:~.t:~·:. ±*lll;j!;'!jl]t: ~ :~:n t~~e -r= ;;r.:::~ l' ,Iii t' ittJ h .Q ~ /7 (J)F'J~tJ< ~I:Ji~T S h T~•.Q o
t.t~•(J)c , IL.- ~ -~-U~~l.,f.ttJ< SI9JtiL,, ;!iM~I: 1:

~ti-f;!i~T.Q o ~ ti·(J)~-L.- 7 ~l'A.Q o ·U~7

liliLT~tJ<, A\f.l.Q~J.lHU~t.,. f~~tUftC(J)1 / ~5 - ~ i ll ~I t~ t (J) l' • .Q 0 ? 1 :..- ~ )~ ~ :..- (J) T = ;;r. 1: t; ~ I *~(J)~t;> S ji .Q jf[jj((;t, ~(J)Ii!(J)Jf ~ IJ t ~ l., ~ • to -3?
7~3/Jc~•?rr./:i(J)*:!I<;Hnw:~~.Q o VI. - J...;;r. - '1' Tl;t r 7 '71 I ·:- ~· / 'J-;{ ! J c ~Jill t.l ~ c / v-T .Q (J)
~~SA -:> ili:~~T~.Q~~f.t(J)l',87 CI 7l'IL.- ~ ­
~~ :..- 1 :~ .Qc fti~ ( A l c(J)Illlf~c t.,T~~ ~n .Q~ Ja ~.;:;:('U/ L.- - T6A~'5(J)~ij"'"'f t' ~ti·#~;t r 3o. "F*::J-~H36 . ·;;1 :..- T*UU~ J th ' Thtl!~
~- i ~'L'I: ;iiM~I:~ll ~ h .Q;: c 1: t.t .Q o f 12. ~~-
(J)t:l:f!fJ tJ'7 7~- ;~ :..-;;r. t'.liJ .Qc ~ n T~· .Q tJ<, J.!ltf(J) B ~ftt'A6T*•Illlliiflmi*l~~"~~.Q~c\'>~ . ~
7 on H-7 J l;t, ~*iic~·?fl m (J)F'JJii ~~J !~ t.,l: t., tt.><rr!3l:?(J)l' A6 o
m;;r.# - ~t.••(J)ti!tlit.,~~~~~n.Q~:~:t :~: tt~~1 : o -:> t •J t l! c\'> i6 :~:n td s7 . ;;r. #- ·:; " :..- · ;r: Bcl.,T~~h~llft~~ ~;;r. ;f.- ~ 7 1 -~ ~ t t.,~ ~

18. distribution complex

23 . delivery spiral each forming just one part of the circulation system and only information '. Accordi ng to James Gibson , 'affordance' is the 27. interchange court
25 . taxi bu ilding ~II together making up what we can call a logistical urbanity. nature of the environ ment as defined by its relation to livi ng 66. sports bridge
26. truck tower All roads lead to logistical urbanity.' So, now please delve bemgs. Contemporary urban sports are also based on the Exam ples of caged-in skies and seas:
59. vegetable town into the logistical urbanity and experience it tor yourself! discovery of various values and mean ings furn ished in the 14. golf taxi building
61. tokyo dispersal centre environment through the movement of the body. By finding 42. diving tower
S PORTIVE
Examples of transit buildings: residual spaces inside the closely packed urban field , and 54. royal golf apartments
10. expressway patrol building lets imagine a si tuation of being thrown into vario us using human action to turn those surfaces into sports fields, 67. sportsman zoo
environ men ts with a · 1 b
28. double layer petrol station smg e oard under our feet. If that the elements of the city ga in a whole new appearance. The Examples of 'candy-whip' rooftops:
65 . airport junction happens to be the big wave of the sea th .
' en we are surfing. If body and the environment become inextricable , and the more 30. sewage courts
Examples of special car parking: that happens to be the slope of a snowy mountain, then we urban elements are dragged into the sports scene, the more 36. twin deluxe sewerage gardens
12. park on park are snowboarding. And if that happens to be on the asphalt that Particular sport goes wild. In their capacity to turn root Examples of unexpected rooftops:
55. car parking office of the street , then we have added wheels and are tops, caged-in sk1es and boxed in geography mto broad l. warehouse court
skateboarding. The common vehicle of a single board helps SPQrts fields, the buildings of Made in Tokyo exhibit the kind 3 1. supply water courts
These ind ividual build ings can never become monuments
us to observe differing environments and lets us perceive the of fine Play wh ich should be enshrined . Probably, many more different types of sparts inspired by the
The reason is that they are all dispersed throughout Tokyo,·
028 real ity of action as 'i ntera c tion w'Jth . Examples of boxed in geography:
env~ronmental urban environment will conti nue to emerge in th is city. It
029
 ~l'if.>~ o liN~, lf}!Jr,j(;:(;tl!!!rJ!!f*~'i/lf.OtJ<, i!Ii!i:{i~
(;: c -o T (;t fflf J (;:if., f.:~ l'*f/!,J!Ji c, f ftlJ (;: if.> f.:~ .7.
*-';/ 7 -( -}~I' '\"'£}11!0) -JJ ':1 / 1) ;_..
~fi80)~~ 8 ~ff~~Sft~ o ·~·-O)~JI~~~
tllltd.>Sft~ii~O)f 3 o . 1'*~-~j(;t:, Bllf039JFO).l:
•~~:..-~ 'l 70)•~ • wmO) ~ ~'alllmttO)T*fi!,J!
.ticL..T'fuiil11..-t.:, 7'.X.471l~O)Jr1'~ =- 7' l' if.>~ o 1-
1' 9 -Mittt if.> •J . t:s m O)iJHt.i'~"&O)~':: ~· ~;:: c! ~ft
T L.. :1:? < S ~ '.!!. (;: 1t ·:~ 'r - :; t! ft f.:
1' - }~I' • ~ ::f • I' IJ - 1., .7, "{'if.,~ o
f!ifli!Zilfi(;: if., ~ f3i.~* ~ - ~ J (;1:,
L.. f.:!H~.tifJ<, li:I~T ~ 'alffiO)-~{i:t;(;:J: -o T ~11!1! 11!1
:l:ft ~ tO)l'!ffiMO)~nO)J:?~th~~ o -ttfi~t!~
tJ<s .-. 9 :J ]7 .L.. O);ti ·:~ 7 .7./lKc- if.>~ 0 t•ll f.O 't c- ~ <. t
O):J:b~O)~~:I:l'ff • • L..~.-~~~:I:c:I:~YBJil1
;:: ft tJ• s t i! J c. ••O)t:srtr~~,::~~t! ft f.:: & L.. ~· .-.
*- ·;; tJ<~ :l:ft ~f.: 0 ? o f e .A., J( .:J 7- -r ;... 71!;... 9-7'
v-1'-!1'57~11ll:lii~ ! J. f 7-=-.7.VIJ5WWiX-¥~
);k;JJI'j Jf BMX vs .7.'r-~;ti-I'O)l)J7J~7 7' 1'~ J c~ >-o f.::
.l!W L.. tJ<, .7. *- 'Yid! ifli~B t t ?>I < (;t ~ ~ · tJ• t L.. ft
*B • .l:·~~-.-~~~.~~~~O).A.I·l'~d.>~
<t!ftT ~ •Q o >! ~ . =!U.il'7ffmf(;:~ -o f.:(tft~ . ftm
may not be too far away that we see headlines such as
' Batt ing Centre Player Hits The Big Legue! ', 'Wall -Ten nis
World Cup Finals!', ' BMX vs Skateboard Real Fight! '
BY-PRODUCT
Today , Tokyo is completely covered by constru ctions;
bu ildings, expressways, railways; even though the city has
twi ce been burnt to the ground . Duri ng the pro cess of
modernisation, many physica l construction s were built for
various reasons. But the city's physical constructions do not
entirely serve the equation of aim ~ people's lives. Mostly,
there has been produced a surplus, over and above the raw
requirement s of the ai m. For example , the ai m of the
expressways is to let cars run as fast as possible , but
because the acquisition of land is very difficult in Tokyo,
030
O)i!If'l:ftt.:t: f.: < t!A,O).}!Jr,J~illili.! t ftfftO) §
*ii!iitJ<iE •J t& 't -r ~ · ~ c • A~ c !1P~Mm~ tJ<if.> ~ 0 n
f.:d.>(;:~A.f.: o l' t. t/SmO).J!Jr,Jillili•b•?O) (l
7 ( ]7 .)( 1., T~~ ) (;: W/l(::if.,~ l!l.lz:)CJ!tlt.titJ<** c ~ ~ ff~ it l' if.>~tJ<, -t
Jr,l=}..~O)~ti~U -o ~~c-~-r~;:::c~c-8~ < lll l! tt ~[,f.: t 0) l' .
0)** (;t jl][@ IJ 0) IEIJJi!!ilJR f
*m~ § Jr,J~~O)•M~;::c:~:c-L.. c- ~L..TL..:I:? o ~ t
J.l!.~J:.~O)U:~'.:t:A.~U;:ii!iiO)It*li' :: ~ -o T ~ · ~ o a::E
li·~~~~-! ~ < iE Sit~;:: c tJ<§ Jr,lf.:tJ<, I'Ut!!O)- f:fiJ.IIl L.. f.: r40 .J.. -n -rtt:t;J c-,.:t,
a•~!!Rt ,tO)•~T
f* (;:f:!jft !tid.> f.::l"ac-,.:t. 11 cA. ~tJ<•~it ':: ~ 'J.
f.J 30 0 m O)<j>(;: 4 3fiO)~.lz:tt:t;tJ< JIX:J: -o T t>•J. ;:O)fj,~
0) f.: d.>,:: ~*~ •~TO)~r.,tJ<~ :~: ft -r ~ · ~ 0 :~:f.: •
..,p .... bDO).jl~0).7,
O)U:t;I:L..TIIl~ • SnT~·~ o l+-,;t ""* I ~ ;...
Jl(;t • .ll, ! *•':: f*lfT ~;:: c tJ<§ Jr,Jf.: tJ<, tO) f.:: d.> (;:
l'*f/!,J!J,IJI& 0) 7 fl$JW(::~wg-r~J:?(::, Fol ~ A!IAlt Bitl'A!!ifdtt!nT
~cfl ilii b • ?Lt*~3!<iliitJ<~:J:ftT~·~ o fi ltT t> '!. l!<ti tii< A ~~·J: ? ':: illiliJr,J':: 'HitJ<W s n T ~ · ~
O)lf~ itl.:tlt. c lt·O)~r.,'J(;: ~? [, J:? t ~ ~ · -T ·:~ I' .-.
i~*.tiO)~(;: f./1
-.7.! .Ill L.. T~·~ o ;:: ftSO)§Jr,l!itiil1T~~S ~ ~
/iii)/M.O) J: ? ~Jipfi (;t:. * L.. T.tJ< ~ ~ · ? !d.:tl!ll ~ (;: _lE
0) l' • 'l'iti .!i lll'o [.. f.::ti/i!fO) J:? ~~~0)1 \ 1' 9
~ Sn~L' o lJIJ40){ifi( ;: {ih~tJ< s , ~UtJ< ~ <-o f.::•
1) 7-1' (;t 13
~= - ~~mO)T, :: ll:~: -o TttA- c- ~·~O)l'if.> ~ 0
~ ~·tO)f.: tJ<, if.>~•cl!'li:H~A~c. t~artr~r.,,:: M -·,r
;:O)ft!!f2 . Iv7~') ·:J ?I ~ it- :J ~ J. f 3./\1' ? I 1' T
Ttft~~O) ~ W~!M5Md.>~ o t/SmO)~JM-~.
-~ J ~~~~~NS l'~A;; ~tO)t,)CJ!mili•~J:~
n'l":::i'U.O(t l' l;t~~·O)f.: o ~~O)Jl.b >") O)(;t, ;:: C ~ \ ~ ~ t.: 0 ? o
/iiiJ j!f.O)fiJ!Ilff~
L.. f.:i!If'l: ftO)ill~Jll-tJ<, .:t~JM- c c t '::.:' -o f.: tJ< ~
~*~~.~ilf-~if.>~i!~~ "{' ~;::~ c- t•~•O):n
~·~;f;I;)Jt~O)"{'if.,~ o ;:ftSO)~~it~~t,O)O)~~
~ftmf~<~-~cL.. T~ htfA.~ffif.>~c~ -o ~
~O)J: ? (Cjl;4 O)~jOO(;: 7 -( - I' /( •:J 7 "{' ;!~ f.: 0? fJ'
0 ..l:. l' .~~ ~ t/SmO)M~A.f~T~fif.>~J:? o •~T l'
;::0)~9!W~~AA~~*8 < ~~~if.>~ o Vc~~
(;t ~ ~ \ ;f)>-• ........... ,, ...... ,;t :; ,. ;... 7 ::.-3;... ~~';: 'JZ· t'liltr
..... ,..,~,...,
Jll.tJ<~~ L.. ~ ~' niti!WA~;::c, t? V c~(;t:
;f;i; 0) .7,0-/f~~t!it~ o fO)~*O)~Bf7-=-.7.~ -
!'iti!Jr,J~ f -? J nitifW~~;::c l' if.>~ o •~~~ H:: L..f.:O)Ii f 27 . 1' / 9-~-~J l' if.>~ o .
f:J.IifEt\:0).7.0
< S ft T l., :1: -o f.:*•O),'iii)JM. f , ftm! ~ < -o T ~·<f.: -/ c * '71' ~/1' .A' (:: Ii :l:n ""[0)/t..--(;t:, :l:~ l' US~
0)~~ c L.. Tjlj~_l! T~f.: d.>(;: (;t, f*'ffO) r•~ · J'JJ - //0) ~ - ~ O)ft~mi c *11:)'11'0)~(;: ~ · ~ J: ? ~ll.ll.l!
~(;:~~f.: 0 ? o .)( 1' I' • 1' ;... • ~-'f 3-0)lt.(;: (;1:,
13 ?
/M.fiJ .IIJ O)Hff~ c I!¥ A;; ~ t O)tJ' ~· < ~ t if., IJ. t;:: ;f)> s
;::O)~.~~~m~sn~ilO)T#.~d.>.il:T~J: -o T~
T~r.,ft L... ""'""'"" "" ''*' t! n t;-f
Dm""'""'(--""1a - 4 · ::.- * :;fl}-:J:; J 'I", fk
most of the expressways have been raised off the ground,
There are two main threads to th inking about th is issue. One Examples of wall plane utilisation:
wh ich produces enormous amounts of under- infrastructure
rs to try to think of a meth od wh ere by-products do not 6. neon bui lding
space. The aim of warehou ses is to store as much as
ensue. Another is to try to th ink of a method where by- 7. pachinko cathedral
possible, but they also result in huge surfaces of wall and
products can be act ively ut ilised . In part icular, when we B. sex bui lding
root planes. The form and layout of the detached house type
consider tha t th e ci ty already abounds with ignored and Examples of under-infrastructure space utilisation:
makes gaps between house and house become a mass
und efined surp lus spaces, it seems appropr iate to try to 2 . electric passage
production of dead space. This kind of space is like a by-
rediscover these as a positive. resource. It becomes important 3 . high way department store
product. Whilst its density stays minimal , its meaning is
to think of a way to actually use them. The build ings of Made 35. ra il museum
insubstantial , but once it reaches a certain quantity and
in Tokyo have many good examples of by-product utilisation, 40. centipede housing
density, it starts to make its own impression on the urban
and there is much we can learn from them . Other examples:
space. Urban by-products are not only criminal activity and Examples of rooftop utilisation :
4 . cine-bridge
rubbish heaps. Contemporary Tokyo's situation is a crazy 15. warehouse court
27. interchange court
m i xture of the ma i n- products and by- product s of 29. super car school
60. sprouting building
modernisat ion . How can we feed back the birth of such 30. sewage courts
These urban by-products ; rooftops, wal l pl anes , under-
unexpected products into the urban planning system? 33. ameyoko flying temple infrastructure, and the abundant gaps between houses; are
031
 i'l< CI)!J!! T{l:t: J:-::> -r 1o t; tc iJ!!.l CI)*U~!J!! t:J.I -r;; tt {>
~fOJ IJI~I : 1.< -::> T ~' T , -t tt tifil'CI)~ -" -~ I:RW 1... T 1: t; It Q ~ L..~ • llJl~H:~ Q A!lfiCI)Jlil: UU tc~~u.: .
rso . ~:~~:~ v-J~ t: ~~ J ~.<ct. ~mi!ll~CI)1o ~lii:ACI)J:
~CI) ~•~;;s<~;;tt-r.-~<:..-~3:..-u-r~ ~li:!:t.O-t? L..to'Fili'.i-t~l;t>d:~•:IJ< , ~~~~E:L..tol.l
?t..~iU{R.\f.<liiiJ~~ HIJJ!l 1...-r~·{> . I.' .Q 0 ,.:::

. "'- " i&lllJ~tt-r~•Q;Ii, 1J~il\JI:I;tWtt13tJ<f.<~•Vt ~~~ttTQ~ftA~~~t.~~CI)~mCI)~:I:~:!:I.<Il

~CI)J:?~~.l.M~.-·T·.~~~U~IA~t..~
"" tdi'i:±J!!t:*t':a Q J.I~CI)M!flllCI)~flll ~.< c Cl)~mCI)
Ill~~~ li. a;; tJ• t; d.>:tl!:lE ~ tt tcffl~ lA T tHl tt T ~' 1.<
~'. T<' IWt:aQ~S ( 7-r1',..- ) >d:CI)~AQ . ~l;t, Vtc
-r;;~e•~•CI)J:?~~tt~~~~~~~8T~t~~
IJ tJ< f.l: ~ 11. l ~' Q (.,, -(CI);@:fi: tfll;l)jl]l: (., ;/)'~ ;i_., 11. l ~'
~.<~· . ~?L..tc~Sii. ~ffi'Ti!'Q~m~r.,~.@f!~CI)t.l
i'fi (::t7 ) I: f.<{>~ t t. :1:-::>tc <it ?~~·:nt:J: -::> -r IJ -+t1'
?J~ ~ tt Q~tt~~Q . lii'J~~=~s t -tCI)Jl<%b•?
CI)U, ~m lf''j;{>_l ~CI))1j~ t I., T~f~*~'i:fljjjj
Cl)~lit..:~·t.:-??tJ· .
~l!itJ<~ tt ~· NUitJ• 1.< B~CI) 1.< ~·llJl. i*ilol ~ Cl)*llll
o tJ•., CI)~Ji~Ji t :t:IIJ.IJ'ttJ<it <· JZ; ~ ·rus~. ~"' t..l!:tl!illl ~.<
~tt!lJlCI)~~~~~ffc*~~••~•d.>Qt..;;,~~
l:il!; If Q tJ•, iii~' ::J ~~I >til.? tJ• >;.: c Cl){-\:flftJ<r.,jJ ~' >;.:
r.l~•m~~~mftlau~~~~~•.a~•~ ~
t-::>TCI)*tU ,1o~ .~~~tiCI)~.tl~A -::> ~ . ~
ialiiiU~ll!i:~tt ltilflM; 1.<;; li, r.t!Hltt~l!IJ b•?
~~~~#t-rt~lnl~~tTQnU#~~ttQ~
? . 7-t-?</, 11 ·1 :17-~/t~• -::> tc~1',..- · 1'/ ·
'\'I~ /CI)fEft!Jil\Jt.. 7 7' :..-? ~ 3 7 1) X L.CI)~&~tJ< -t?
-::> tc J:? 1:, ~ 1',.... ·1' :..-·~-'I' 3- ~~U~ L..tc~m~ tt
If~ >ott , ~ tttJ• ;;CI)~ftl!lJll: t:iltQffdc~CI)~ I., ~· 1o
:nux>JL.. -r<tt QtCI)~•Qt.\!l. ?.
~~ Q
~•{> . J.I~~~~~-~~~~1o::J:..-Im~{>~dJ~.
~~U/7/~t~·ltt~TQ . fimCI)§*t..l.l
~7L.I:1o~CI)J,.r.,,fJ<*.§hi2.:1:ttT~•{> . ± I *
-~M.tl'i:~±·~~CI)~~tt~t:C5'{CI)_l~J.I ~
r22. §!±7,~-~J•. ii~~tiCI)*fl. •~i'ii . •~ m
ttl'i;tJ<t~;% L..H18 . ~~ ::J / :fv ·1 ? ~Jtiol~~- Q
0
;IJ''?7"' '-
?0J III ~ ~ ~ · Q 0 i~VP#Jiii:!W~TQ rs4. :$1' L.< /~ Jll £H!l L..tthi2.ft. ~~· < r ::.~- 91' :11 Cl)~ I Jl.6~ t
;..- J CI) Jf.jCI;t. fHll: li/Z;±il: 1.< -::> T ~' Q tJ<, *ffi f.< t: ~
3
Jllb' ~ * TQt ii!JI:li:nQ . ~ttliii!CI)i[JiJi ljljl ~;i.Qtc
~ ~~ ~;;tt~~;>j<ii!J~. ~~~-;t ;; tt ~;>j<Uffi)E#~
~mlift-" Cl)1o~CI)Jii'fi ~
I ?~ ~.-,·~·~-;>J<~ttQ • • • t#··~~M# • Q. 1... tJ' vP 1... v~· -r -r Cl)
:JI'PQ pIt~ A Q• ~ CI)J: ?l:l.lm ti~;>J< lii ~~CI)/\ 1' :i ~-lmd.>tt~.-tttU1oillt~·~-ij~TVt~CI)
IJ-1 r <' li . l>*illll::u#••l i\iitlc 1...-r ~<;; tttcli ~~~·1o~~CI)J:?t..:•m~llllt..~•tm-t;;ttQ . •<*
~ltlli~aQ:tJ<, -t?m-tttli~~- ~ml:tlb:IJn-&.
PfrtJ<. ~-l : l;tlJIJCI)~nttni:J: -::> TahU;t;;ttQ~S
~ b' • Q. 'RUJIUJ!!"-:& Q ~~ti!CI)TCI) r51. :1 IJ ·1 :;" 7 &~n-&.m•n-&.~•n-&ct:w~~~t..Q . ••CI)
~ J ~~~~~'/ImCI):tJ7-~/1CI)~·-CI)T~A6 J: -j f.<~ ff C *I)~~ l;t, -( -j ~' -::> tc n 'g 1: fJ> fJ> Q ft foi U
Jtllliii ~~ · Q . l!iUJ #•~*~<.-tttiMJ!TQ~d.>CI)n'&t*~~~>d: -::>
b• ?7 7' ·1 ~ 3 7:1 ~~~11.· iJ' f.<
Jtll!al: i!i>QtJ<, ±;>j<lJBI!''I!!I:tthi2.tt~·?~tl:l;t, ~ T<Q . ~?~•?n'&U!i~tL..TahU;i.Qt, ~;¥1: • •
1W~ V-::> -t~tl..~ tCI)#AQ . ~tt;;U±;>j<~~~~ ~-t..t:~ .~CI)~;i. ~~TU:I:Q~~~- · il\J~.i'J.Q~
~ilil: ~l ~~~ t..:tJ<;;ttt;~~· Q. tW~~Q . ~-M.~~~SJi.T;>J<Ml!llf.<t:CI)1'/
ElliJRJi ~ t t IJ A If tor 13 . i\ ~ !ffiiJ!!j liiiJJll~ ~ t t IJ 77 ~ ~ 7? 'f ~ 7' l:lfi~·~~:IJ( -t Cl)jtii!<~· Q tJ<, { tt
ili>~~ r ~. L.n?tt'i:Jt..t:u.ttv~tt~fL..t~• ;;U'E:$f ::. XL.~~CI)~~CI)·~.Illl.l~tl..TM~~

*#lU~±ii:IW~TQr17. Ji~7H-~jl;t1!'fii:Nlfl!f, 2 t..:~ · t~-?l'. ~tt!jt{iiCI)-;j')1i:tJ<)1td);;ttQtCI)~·Q · tt-r~~n~w•QCI)~.•·~~~t..~ffiiMTQ~t

<~~~-Q . -(CI)J:?t..·ffi'~CI)~ttilJliJ:~~~~
l'fi. Jl'fit:i)'!lXiliPml!rb•?, mmtAtthCI)~tJ<~~~ tt 7'if1 / b • -JCI)I;t, ~~6t.Oit AflllCI)tod.>I:'E /CI)/JCI) lit..~· (!!4'1:Jillf[CI) ~ ~ ~SJII;ttJ>lUII:J~·1 'T- '/ ~ tt
L..J:?t.l.lm~.~m~~~~~u.mu~m-•••~
n • Q;/)'CI)J:?t..mJ-.FoJaotCI)m<%~. FoJ t; 91'/CI)J.I~tf Mi! I~ tJ• T t Cl) t.: :tJ<, ~ tt ;;CI)J1;%1:1;t t; 1...-? ;,.r.,CI)/J n•Q ) 0 l..fJ'l..fliJI!CI)1'/77~lf~GCI).I:I;t , *~
~mt..cCI)ffi~t~ml~~~~{>~-~t:71~:t!!L..~
33ll~~ttt.5:. !*<' CI)I;tfE(jiJil\JI: .~t.OtJ•;;, aJfil\} 1: :tJ<Mi! I~ :IJ·~-r~· QJ:? 1:t h ;i.Q . ill 1..., ~ ~ :1: ~< Q ~~~~·il~#t:~CI)~?~*~<>d: -::> TL..:I: -::> ~~-CI)
tJ<, -t tt;; li1(·f I., t~~ ~ tt ,~, Qt l;t~ ;i. >:.:~· . I., ;I)• 1....
limtJ<::tJ-.b•-tt..:<tt..:~· . ~tt.,l;t, r:tB~tt~lfiJ CI) ttli•~- 'E 7 ~ ta?"' ~ tJ· t 1.. tt~.< ~· . tCI)Wh;;tt6 . ::J~t:~'/I~J:tt~r~~~tl..TCI)tt
~~CI)~ftlCI)~tt~U.!lJl·#~~~L...~~CI)~·
liU!'t..f?~~·Q ·
7-vt:::J'::.~ rlllb¥t±ff:..-:$1'L.HIH::.~-91'7'J t ~J :IJ<AIJ?6Pitff:IJ<, ~1',..- · 1'/ · ~-'1'3-I:J:ttli.
I l l ;i.Q~t~~mCI)I!iliJII £Bil L..J:?t i;th -r~,Q~fJ<
r50.I!iM< / ~3 / j ~l;tJ.I~tJ·;;~t:ftc~U-tCI):I::I: lll -tCI)i2!t:~: utt..•J~ r~.~~
~' Ptl.Q '\' ;. 7? 9- to~ :IJ< ~l,l I., to 0 -tttli'f!ili'.i-1: t 1.. -rCI)m~~J. ~•·~ ~.~~~

void spaces which generally avoid a pre-defined use being

a far away dream . Trying to approach such ideals entai ls
allocated to them . At the moment, the usual attitude is a
huge cost; enormous monetary expense, or being pushed ou t
kind of void -phobia which tries to paint over all trace of
to extremely distant suburbs. The uncontrollable spread of
such spaces and they are considered only individually so that
this situation is like a virus . Modern architects and ci ty
the meaning of the ir multiplicity is lost. However, these voids
planners tried to counterattack the effects of this high ly
can become a breathing space within the over-dense urban
dense living environment by taking utopian ideas combining
environment of Tokyo, and can be recycled into a completely
the rural and urban , and trying to project them into towers or
new use - the equation of by -product = void and its
onto Tokyo Bay. However, amongst contempora ry urba n
assemblies can become a tool for a future worm 's eye view
dwellings , there exists an immun ised type , which has
urban planning.
adapted to the actuality of the current condition in its own
attempt to overcome the urban disease.
URBAN DWELLING
In Tokyo's 23 wards, 68% of employees are working in the
Within the extreme density of Tokyo , real estate ideals •
serv ice sector. The workers and managers propelled the
clean air, lots of greenery, no noise pollution, big rooms,
speed and intensity of urbanisation , and regard the efficiency
plentiful sunlight from large south facing windows, - are like
of production and logistics as a resulting virtue . If dwelling is
032
also thrown into the same framework of this criteria , then a
51. bridge home
very si mple yet courageous thesis of ' hyper-closeness of 64. dam housing
Examples of living with given measurements:
home and x' takes effect. Like the absolute beauty seen in
overwhelmi ng functionalism of products made in Japan , such 13. bus housing
as th e walkman and cup noodles , the format of urban 40. centipede housing
dwell ings observed in the buiJdings of Made in Tokyo can Twenty years ago , there was a TV animation series which
guide us toward s new ways of living in the future urban attracted popularity with the concept 'new type'. The 'new
environment . type' meant an evolved human who had adapted to the new
Examples of liv1ng with work:
environment of the space age. Tokyo is not in the space age
15. nama-con apartment house at the moment, but through looking at these contemporary
17· horse apartment house
dwellers, living in these build ings and overcoming various
1B.dlstribution complex
contemporary urban difficulties, I feel I can see the figure of
2
2. sand apartment house the 'new type'.
Examples of llvmg with civil engineering:
50 · retaini ng wall apartments
033
 ~~~~~-~ifaijme~~•e .
~t~PX:'t{> ~ m~.A~~$1'1*t$£~vt?t~-rm ~if~~~·ij·~*~•*if~~~~*fr~~~9~ .
f19 . ~fl t::J~j l.t;j;l!B~~~i!1~11!!~~~~~~ ~ ATA~
t.t~~~~~hJ:~o;tt-r.-~it~-~~ffi!~~ ,
~ ~ J:?I:fit4$Jt~T~ill!~JI;t.J:"f*il~ -ttt~M~.-~~it~l.t~tte~mHI~~~t.lHtt
~e~~~~.~*.~£*~~~.7-~~~~7-.~ td'l.t\. ' "'.. • ~
f.: . 7 v- ~ !ii!PX:9 e ~ 5 A l;t.jJ!i§~I:!'.ILiL ~ T \.' {> litt;;,f,.lj!-~13 ~f.:lt~l;t.pJ(;:;L ~ 1:< < fi -o T t!T \.' {> •
~1 ~ 7 5 A~57~~7'~~$t~$ti*!~~/5~1~
~7. Jf1/51~ttl::tJqftlii. 1-tnoc;tt-rvt?~l1!!J:
~. /iH~ tH.:it~~J:?I:h~{> . ~~-~it~ ( ?)
~fJ· ~. -~~it~I:J:~.FLat.t~m~ji4$Jt, i!Htilh'
~7-,r 'J ~-;..,1::1: tm;;tt '"'e . ~~~lllllllil!i~iti* TQ o
Mi* c; tt ~ t 8 tJ<, -~Hi~I9Jlt! :t;:~ 9 tt lilh'~ fo
~K~-~~~W~J:{>mU8~~~~~~M~9~~ s•~~~.,~~~~&~~••*~~~m~1~75
~I7'::J~~J:?ttt~~•etJ<, l1!l~t:ttme<' o;c '
lbl: f'l';;ttf.:#tii~~.t.JHit~ 1 2 5 3m. 4•~ ) 1;t., nr~ A~ 57~~ 7'~ll~~~~. ~f'jll: l;t.iJI<:fT ~A -o T \.' {> ,
~~l!fll: fie t, 7111!iitT (' ;; \.'~ t:: J~ 1: fi -o T ~ :1: \.' , I1'J
~ ~- ~ . iliJ:a'!I$J~)!~ ::J ~7 :;t- IJ:6m t 1~mvJ ~'IWB
ti At llttl:J 9 {> t.: d) 1:2*~1!!~!! (iilH!?m, •.; ~m ) -t~f.:mrit!I!!Jt~T~-j;&JI;t, A~-:1-:f-~t~T~
t; ill 'J iGc'~it!l$} t. -f:~* 1!.; 'I" I\ 17 7 t.l11~HI: B\.'
I:;IJ!~{t c; t1. T t; I), c;;;, I:·U;~'Ij"llJJfiJJll! >!f ~ ~ t
T i!>l~fJ< fi \.' • .iEi!iil:.jjl{q It c; tt fdiiJ 1! tl:J ~ ~~~1 /5
a~
fr<t ~ ~l!!>ntti:~~.:?-J~!!Hlt~'l"i~:J<;Y-~7'~.
J o '-
'* ~~-~ 7 7t.l:I;:~IM4~h{>~~ . ~~J:?t.tti~~
1'-~-~~t-l!=l;t.•*~*~2ffl' . 3ffl'l:tt~ . ::J~
•tti::Wtt8~~~W~8l!I~~~~A7J~A~ . m:ff tt~~~~~ttt~~.,~~~•t~~~~~8n~.
1 ~tJ<tt ltttli, IBTtthl:t tt t;;., ~~ :1: ?. f62.~illffil1!!
:;t-~~tJ-~~~~#-oT~~9~11'J-;1!!~~~1'- ~
;;.~~~~~~ Q f.: e. ~llll~t:: J~J: 'J t•<. ~ill t ~"' fit!!$) t ~'~•~J li~m~r., t ?< {>J: ~~~~-~
t:: J~ J It, Ill~?<;;, tt e ~~It tt <. lll.ll~?< ;;tt f.:
!8~~~~ill9~~ATAC~T.~c;tt~t~~
1'~1WJI: ~Hfi~ Tt tf~ T\.'e . llil\~cp~l::'!l:~t.t \.' !4 ~"' tt~ t ~~= tt~ .
ili:Ji\~~itl!l~ae . At.lf.:~~itl/l~cp$1-tJ<, A-H-
~ . ~~J:?I: fit4$Jt ~T~-~J IJ:~ml:lio;:J:tJ• tt
Jl!c'f'll'iiU~iJ!i§4$JfJ<:iL ~ IHo tJ·~til\l;t., iA < ~ t:51 '~
v-~ 7 ~~~itl/l~o;,~ijt±Jc;tt~t~~-e~J:.-t ilAf.:~~:fft---~~•{> .
-fJ• o;,t~J!.~ c; tl.~ ~\.'7'1 A h /~A IJ, I~ 1) mPl~
~ A-Jf-v- ~ ·:; ~ ~~itlll~<P$1- t J: 'J * 1! tt;~itlll
1111!il.t7 - ;...~~~-.~•~~.~.--A~5~~ . -t~ii J:
~~~:ll:?~~~A71~•t8-tt~ . t~~m~~~~ ili:Ji\lt, tt~. ~7·0. Ilicc' -o f.:it!I$Jt, llill. ~ll
l:i'Jm;; tt T c'f.: l;t. f . a t.t f.:~~iil/ll: t -oTIH.!I.:\Ul1
7'-J~I:tt.-o T\.' ~ f37 .Jtl9iii:A 5111'- t:: J~ J l;t, /-!~
IJ.ill.li.; tt t.:J:? 1:.;r; ~e~ f.: tJ<, ~IJI:~tt~tJ'Iiti:~ttl:llJI tti::~3til!lil!i~.~~.~~t.tl::~±*m~!I$JW~~~~
~•~e~tt;;~~itlllt. i!ii ~~~nc; tt -r~$~~t
7'~57~3~t~-r~a~tt~?-,r-~-A511f- ~
-o t.:nlt~tt.t•' · ~21t't~t!IJ:::Itil!i!'t~. nt~:ffAc\.' •81* ( 7'~D~5~~~>~ae . -t~•u~.t.a~~~
~h. f,j"f ~~lll~/5 ·:; ~7-,r-J.,'i".~Piit.ll::, ~5 ·:;
~ - -:ftJ<, J:IJi~\.'ifiiJ;!H;;:J(eT~-7ltl~c;tt-r. ?\.'
7'1"A~t~1~~-7I1A!fl~et.~m~.it~
? film~1H~;m t "'? ~ t tJ' ? • ~Filfol Mli tJ' ~fti.Jt.; 1Hl%1JtJ<ttt cc'fi"'~~. 1111: tJ~ AtfJ', * 71 ~/1
l.t8111!iitTU~·c;~t.t -o ~t~~-{> . tt~-~J:
tte~~~~*~~l!!~~t . ~llll~it•J:ijl.t~~~ .A~Uf!1li:A~C\.,t.>tte . ~fJ·~-t~J:?fiwtfJW. ~!!.
~ttffifftt ~ 9 e J: ?I: tte . iiFil A~ -11 t "' ?~ ltJJ
*8 <. ~~~~ttc ' ~/'J~ ·:; 7ttmu~. ~tJ·t-t~ ~~~.Jt~~mPX:~.~~~t.ta~tnm~~~t~~
~~~l.t~ttifMm~tt-o~t~~•e . ~~J:?~.s
-~c;-tt~~~?-,r-~-A511f-~l.t.~~ ... $~
iEI*IA:I: 'J ~;;, tt T \.'fie'~ t tJ<!J.c' . 1:: ~ fJ' :0.A7 'J •~~s.nmt~~-r~:t~~:t -o ~<~tt~MfflW~
~~~~•*t.t~$t.~mit1*~~ -o T~8•m;;tte
··~~tt~if~!llc;tt-rt:sij,4$J~~~I.t~fl'l"fr ~ n~1: fi~l;t. f fo . Jll.l:, tJ ~A ~-~t \.'Ptl.fifJ<S, ill:
7'A ~ .~Illl~m~~SWij.c;tJ.Ti:>ij,~=~~~~~
t. t:~-v ~A~-J~ t l!\l~ fd!HJ! tt.?l: c'f.: e , ~
/5 ~~ttl:: t ~t.>'JtJ<fic' . i!UHi~tt~tJ<~$1-~A III
l'HH+7tl: iilif.:~n,~ . r~t•ar~•t.«Jitl:llrt>~ * 11 t tt t.t •H:i!iis <II liE~ -r "' {> . :1: •~AAomom'-*~ ~
~J:?I: fit!I$Jt~ T~-~J IJ:~m~t -o T~*11tlil£~
~f.:e~*7' ~57~ 3 ~~=Eill.; tt '"'~ . rs9.i;l; *7 ~=~~ ~ ~~-~ . 1' ~ ~ J~fJ<, .J!il! ~ fJ<fi]fJ' f.t\.' ~. fJ'f.:~ ~tft;j;IJ t t t1. T
5AJI.t1111!i~l.t•~~J:ei;~;•.-t~mJ:~I.tA~~ J:
~*~~•"'f*film~l.t.1~75A~57~~7'~ll \,\ t.t \.'I: t fJ' fJ' t.> ;;f. !J. <~~=~~!!$)f.:~ tJ< -t tt-ftt
f 48.7 v-~f.: tt J l;t.J~:iMtJl~ili:Jii~A tJ 151 ~tl:
e ~iltc'~iit* t "'? J: ?I:. ill:•~ -~· f.: ?~»nll c• ftl O)b!i ~ l~ . .A.-7 1:1± ~ Tc' ~1: t fJ'fJ' t.>o;f, ~ li~ Iii! ~t.t ~ mllt!t-1'1- tIll~~ t.t tJ<o; 3t'IT9 {> !IP!il: fi -o T \.'
1¥'t.>-tt '"'f.:~ 7-7 ~.--- ~~!il~~• e . •~ ~ 7-7
it, ~f'\Ollt ) tJ<tftliic;tt-rc'et~~•e . ilt*b'7 EI
Sb!i ~ t.!! t.t.; tt T\. ' ~ . -t tt o;~lil!i~l~-~~ J:? 1: El 6J:?~ . ~~o;.li~~'I"~~~!Mffl~~~7 7 -t

MACHINE AS BU ILDING
The ci ty is our place for living. But if we zoom back, it can
be seen as an organic structure like a machine or a creature
breath ing production and consumption . Although it is an
analogy, if we th ink this way, then the city starts to need
organs for power, transportation , storage , discharge. In the
case of a megalopolis like Tokyo, the load on such organs is
enormous, and the organs required to look after them must
also become huge. In reading these organs as built fac ilities,
they can be readily seen in the area around Tokyo bay. The
most typical examples of these are almost-infrastructures
such as power plants, garbage incinerators and sewerage
plants. Generally, they have been regarded as types of
industrial building; because of Modern architectural history's
interest in them , they do not seem particularly strange to us
034
now. However, in the latest infrastructure related fac ilities of
Examples of d~rect human plug into waterworks: structure of the machine-as-building has had a scapegoat
Tokyo, bizarre buildings wh ich are really like large machines
37. proli ferating water slides symbolic value attached to it, wh ich can be replaced with
or instruments have appeared . These are what we have
69. carwash terrace more positive values, providing a un ique opportunity for
focused on for Made in Tokyo. According to Le Corbusier,
Examples of tn frastructural monuments: urban proposals.
'the house is a machine for living in' , but according to Made
38. ventilator obelisk
in Tokyo, the reverse 'machine as building' is also true. In UR BAN ECOLOGY
In a metropolis such as Tokyo, infrastructure related facilities
other words, architecture as an analogy for machinery is
are ofte n seen as troublesome , despite the fact that they Tokyo is an agglomeration of buildings, traffic infrastructure,
possible.
serve the populace. They have clear aims, as machines do, civil engineering. Its landscape is said to lack visual control
Examples of electric appliances for the city:
and ga 1n obesity in direct relation to the extent of urban and is popularly thought of as chaotic or as 'white noise'.
19. air-con building
expa nsion . In contrast, normal architecture must adjust itself However, this kind of interpretation is based on mechan istic
62. cool room estate
to multiple influencing forces, and cannot afford to stand theory and semiotic systems. So, if we change this premise,
Examples of urban tool garages:
With a si ngle purpose like these facilities. But the banal a totally different interpretation of the city should be
43. chassis apartment
fabr ic of normal urbanity is actually co-dependent with the possible. Actually, despite these claims of chaos, Tokyo is
44 . m (lege office)
figures of the huge and bizarre infrastructural facilit ies, interesting in its own way of functioning. It resembles the
48. crane shelves
Which are merely a reflection of inevitable daily needs. The unstructured forms of the rainforest, within which there is in

035
 ~T-J...T~~!Oc*T~~T.~~®~!t~~~~
b ~ T77~~~~*~/t't'~~~~~~~~if~ ~ J:I:.J>;~to/IJ. z:~~mMtJ< ~~~nm~ttEl t~t~T , -~ ~•1 X<>;.t.-.: H52 . ~±UtJIJ >:> e t~(g n ~, r1o.
~*~~c~~~?cT~~~~ U~!~~~~977-
lit.•. lll:~hlftlqctJ~t!JT, fgfl!J~h~~IHi .:: ~~~.L<!Y'i'e IJ =t-~ tJ· 11;s tJ<mux? ~l\ttl!!~~~~: .), M¥.1iJU~ft~I3~~~M·a!Hiic±~llifi~<'
c~T-J...Th~.~-~m·~ ~ ~ t •tft~~~~*
~~J. '~r~ O <'MJ<Iii!&bh, IH1hli~m~• 5 tr :> t ~tJ· ~ to ~ IH ' tJ'I: t1ijfljt;itJ<~ IJ t? to , Z: t1. ~ r;i!~T~ftlll~•c•ij <' ~~ , ftlll~~uz:~tijc~
c* 1H. MHI!:I:t Jl. t.•t!J T Z:ctJ<t>~ ~ ~;tft.: , ~8 ~
tlila~~C(fi!IJT II} U'I~r~ O I:lil:~b•?. ~ M~ ~tV t ~~ ill~l$~~~:1i:t.q:;t;ll!IT~~~~7! ~­ to±~ ( ~- ~- tJ<JilliJ ii(1~tl. Tt.' ~ ) tJ<;;. ~~ tol1 <'
~~~~<'~~~-~ @ ~z:c~~~<.~ m ! ~ ~~~
··~U-tJ<;... /~ ~ 1) - I: I~ ·~ 7'-~~ t1. T \,\ ~ t ~ t' ;( ;1/ Hi~gtJ<J~ ·~ 7'- ~ ~tl. tot~<'~~ ' ~~ti, t~lolz:?tJ' ~~~~Jr,~-:..-. ~ ~ -:..-Jc~•·to
~~~<'1;1:1-'J~ h ~l.' . J... , 'E /~illf h , ~~ ~ ~. ~/lll
~ , Z:tl.U,!7 o ~ ~ U·if~~~~~~-~if ij~ r2s. 97;...-t:::Jvjt'li, ~~tJ·~>t:liliT~·~tJ<JlJ...~ ~~if~z:~~ , tl:tc~~~~ ~ ~•Btftffl~T•
tJ'1Ufll:tJ·~;;.~~tdlS M~~~ ~JIJlli, ~~t.•IHS M ~
~. lfH~c~T tllll !'&l:il[~ ~ t1. n•~t~t'~ ~ ' toit~~cpl:, liU~Pii.i.&~Pii~~t-"711{-to~~~~ Ji\ ~J :..- r: -~ 7 <' tif b t1. toM¥a!Hll <' ~ ~ tJ<, tt'~l;t
!7 o ~ ~ U-ifi>~T( ~ , t? Th ~ t h~if·~~
r % . <:..-:..-3:..- ~~ J~~ ~ u.• ~ ~~ij t!J ~~J... c -7-1:. ~flit£. ll<lll:t.'? I~U.b·~~~-~tJ< , lOlL: m~,:~llll ~ h~z:t~1>t..:•·hii~<'~ ~ , tnltt ~ ~
~.<7 o ~ ~ u•c~< ~m ~~~! 1 ~ - ~ T ~z:c t
-~ ~ ~<'.tz:~ ~ ~~~u•~~~~<:..-:..-3:..- ~ ;~, 7 :1~~1:101'* ~~~~ c <~~ -~ 7'- ~ ~ t1. T 1. ' ~ , 1.& ~a~<>~~~~<'~~?~z:~M•c•li~r;l!~if~
<'~~~?1: ~~ 0 t? \,\ ? ll lii ~t~~lb~- ~ b• ?~
~~~c~ ~ <'~~ , <:..-;...3;..-~~ ~ ~~~!~ ~ c llli!~T. tfj·~T. lii: ~T :I:td&~~T. 24~r.l-~U' ~~ ~U<~~ ~<~ •?.~&~ifffl$~~lt:~IML:~~
1;1:. lUl!il!l~l:fjlj * ~T \,\ ~ ;: c IHit'. $!-~ @ IJI:~ ~
~ fiJJI: ~ ~f'\;b IJ 1: ;,..- ~ ~*tJ<bii ~ tJ. to~ ~ C ~ IJ , ;tii:~'4 T~ to/IJ~ 97 :..- -aHfi<'~~ , rs7. ~-~-T~~ ~~~<'t~~~~~?~ , z:n~u.~m~~ - 7:..-~
~~~~~~~~!ft ffl ~T~(ij ~ ~~hT~ij.~~
•~ffbij~~~~ c ~m.mm c ~~ ~ ~~~~ ~if -~ Ju. iill2~,:•<>llJ...~nt•~. ~~~:tJ-ffl.ll. ~ -~-~•1~-"~ ~- ~if.r;l!~~~c~ffili:~ffl~~
~:ii;tst'l:~. ~~/ ± *Ct.•~to:fJ -T :::fl)-~111;1:, ~*
~~~)JIJ ~ , All!~? ,J,~ <'It~ •·>tJ'~ -s: , r41. 111 ~ 1'Jit.'~ !~ T 1~~jjt...- ~t' ~li ~ Tt~? r.ll:, ft ~ T . .\!!.t. • tJ<t1t..:t. • ~U·I~(11i::.~toiJ, ~i~~~T~
IJt~!~~~(~~ o
• ~::: ~ 7~ Ju l3 1b•ti~~ • ~!m?•g~.• ~~ J:• <>*-~:..-7~ -rt...t:::~-k~"L:~z:cif~~~. ;t?Mt'~~ , Z:~Z:I:~~.-.:~~ti:U~-~~~-~
~1t: · 1:..- - ~ -'f 3-~ =n..-7:..-3:..-~ ~ ':'t . ~ m~
~Hr?~lili , ~1fH -'f /"'f9?-tJ< ~ ~~9 -/ -T n~~ 7 ~1 /t'~ ~ , Z:tl.~UVc~~lt~~~~~~ 111 >:> et §,tlitT~ 1;1: ft.: ,
~~~~*~*~~~~ .~ ~ .~m ~:..-~ -r k~eif~ 1
-7~! 00 ;;.,~ ~~~ 7' ~01~ ~ 7J-::J !~ .::-r ~ ! V !31JJJI<I:Il!l lf- ~to ~ ;t t! • t..:Ji~g~u t ~i/re~~tJ< ~~ -~ 7 ;:~~?~~M~!7ot..:~U-IU~T~c.:tJ7~~
~7~~~~~h~!7 o ~ ~ u•c .t ~~~~<'~~o
c ~~II:Jl!!l: ~~ ~ ~ n• ~ , iii< ~am • ~li,: tJ· ~ - ~~tl.tot~<'~ ~ o -~~~~.~~~:ii;tsttt~a~~~~~~~~~~
c*c•ij~~~~ &ffl!;;. ~z: cif<'~ ~ , t~th~
~~ . • !M~z:c!~~~~~~~~ ~ ~z:z:~ ~<' r47 . l!!lllil~lllJ IHJ:Jil'Jjj[~mmrocJ R ~~~~r.w ~~ift. ' ~ 1: t.•? ~tJ< t. • tJ•I:~ ~t.•t ~<'~ ~T . ~~~.
hu~3-7~ ~ - 'E 7~~ - ~~!t~~~ m ~~~~
~ T ~Z:cift'~~ , Z:tl.~U.tt~~~~ ~ ~~ifm• !btol1f~M ii~~$li<'~ ~ ' i!f~Mli~JilliJ ll ~ 1: lt~lt~ ~ ~~$1JI:~ ~T. t;: <'~~IJJtJ<$1Jt-:l I~ 11~
It:' ~ - I-" ct.•~~ '
~~<>u~<.fia•~~oc~~•c~~ n ~t~ <' ~ .I: ~TI'I li!. ~ t1. to1ltMro~ t:::J~~-~! J{ ·~ 7 #- t:1:. z:c tJ<t,\ fJ>1:~ 13 Ell<'~~ tJ•tJ<E! <;;. ~ << ~ 0 ~~l,";j:·

3. / 31:~7'-~#-t-"~~~~::J-~~::J-~if7~7 t~~?>:>~I3Eilif~~~m>:>~m~~~~~<ij~~
r1 . '~r/ ::J :tJ-Tt:7J~J,to c ~~~~':;;.~~tJ'. ~
~ R ~~t~~~t~ ~ ~~r ~ -~~77- t::: ~J U ::J J'iv H:JQ\tJ•n toz:~~~~~ It, §, <~:S~ !ll~Tt.• ~ ' < ~ ;t ?z:t 1:. ~m~ t:7 < ·;;J~'I"-! 15L: ~ , ••t'n
l;tr;i!jlT~3~~~~ ~~JP.!G~ , ~~ ~;I.; J~~~ ~ ~ r ~ O
1:..-7:..-t:~ -- ~~ -· ~~ - ::J:..-t:::.:: - t::: - ~ -r 7 ~fJ' ~ -t ~~1: 1: ~ IJ If~ ( ~ J!Il J~-k tJ<:.,tJ' t1. T 1.' ~ ~ 1:~ ~z:z: <'~~ ~<··~~ltr;I!!Jtt~~~~tJ<, ~m~
9?-!. ~m~~ • 7 * M~~-r ~ :..- ~ ~ * ~W ~ ~~
·~ /1- J. 1: "' ?l!l $1-~ ~ - l.l~llr.,fi a c ,c_,~rm :/ij(! o 1'.Jl.~~~ ? TUZ:~ ~ ~#:S ~ ~ J!Il ll!!l?~-~~? ~ ~;;.! r.,~~ < ~illT~I: "' ?z:c <'~ ~ ,
~ h to~/ ;...J ~ t::: J~<'Jili~t.O ~ I;I: , 1~ I)~/- ~ J~ ~ k ;¥
1: ~~it~ ~ <>·:; 7 - ~ ~ <> ~ ~ t ~ <> ~ ~ , r33 . 7 ~ l:t;;.~ T( ~ , ;:~~?1:, ~~~~~l •~t.>'l'~~:(l:tftJ<,
~!mmc~~~ , z:z:t>u.~~ ~~ ~~-~~~~ff
m~ ~ ~J~~~U7~m~~mM!Otfl~~J...I· M ~ t~li ~ Jl.~ ~Hi:~ T ~ *?~~ 1: ~Tit. i&l:li,J•= ~
fact many types of creatures co-existing, whilst each
poss ible element from the surrounding environment. The bu ilding: realise how unfree the limitations set on our activities by the
constructing their own world. This is ecology, which
completeness of any building and the categorical division 24. bath tour building control of aesthetics and construction technology are. On the
understands the creature itself in relation to its living
between architecture and ci vil engineering beco me s 33. ameyoko flying temple other hand, it is these very same limitations which create the
environment. If we stop using the metaphors of mechanistics
meaningless. Examples of the agglomeration of cars and their derivatives: com ical details of urban dramaturgy. In either case, the
and semiology and start using the metaphor of ecology, then
Within the collection of Made in Tokyo, we can see positive 25. tax1 building particular understanding of adjacency endlessly produces
i t should be poss i ble to discover laye r upon layer of
examples of micro ecosystems, directly reflecting the valu es, 57. auto department store urban delight.
meaningful environmental unities, even wi thin the landscape
interests and social systems of various urban dwellers. They Examples of adjacencies which inspire unexpected
of Tokyo. This is a complex intertwin ing of people, the flow
can be recognised as small urban episodes including jokes, ecosystems: VIRTUAL SITE
of things, elements of the environment and time; something
humour, pathos. 47 · vampire park The difference between convenience stores and other public
which can never be obtained by the bird 's eye view. Through 52. residential farm
building types such as libraries, museums and train stations
walking around the real ity of everyday life, we can start to
Examples of physically separate buildings un ited by activity: lO. shootmg graveyard is that there is an incred i ble number of them spread
see an urban micro-ecosystem, or theatre of urban dwellers.
7. pachinko cathdral If we observe the micro eco-systems of the ci ty in th is kind of throughout the city, that they are made up of a small space
Then , we can also start to form an image of a city
41. vehicular village way, cross-categorical and innocent utilisation of the bu ilt of repeated design and that they have establ ished a
accumulating from these variable happenings. This stage of
46. apartment mountain temple environment can have plenty of fun , rather than be ing networking system. This network is supported by logistics
connected act1on is brought into being by util ising every
Examples of various amusements packaged into a single Weighed down by the solemnity of a single build ing. We systems which control informational and product exch ange
036
037

:::J/I:'.::I :.-;;~.;;~.~7'tJ< Ii'!J.ff!. ~~ff!. !IJH:~• -o tdt!!C7J
!:'~~1/ ~ ~~7t·*~~~~C7JU.~~~Y~/(7)
'1' tt ~·•ntn<~!i/ll::«~~-m':: If?:~: n•n 6.:: t ".
?-?WRdt<tL6.::t~A6 • .::C7J:?- y ~?-?UPOS
t ~· ~a/ii'i'Ciiij;Bm~'!fl!::... ;;~. 'TL. t. ttL 1::;1-:.J~· to~)JI!
::...;;~.r L.~~ .., y~mttnT~~.:?- Y ~?-?~•w~*
?-?b•~'./7 ~')I 7' / 7'-~7?7''1'-l.i§I:: .!Li.
!.<~• . ~H!i~U. tC7J$~~'.<.!lltL l't...tJ•t..~• . :?-·> ~?
-?ti~~.~B~e~Mw~m~t..e.::tua .., yt,
.A1<$~t..lii'fiC7J1!ili)JIJC7J~itiltJ<, ~.'l. lMC7Jld7'7 ~ HU.
~~·~C7Jnt••~Y1/f~A~~~e~~~~O~t<
tL e.:: t (,j: f.<~• . {; l,. :S t ~ ~~-:> fof.ljififtl::11!\flllf~l::jj I)
~t<tL6.~/7U7'~Y1/C7Jfra·~~7'7~~ :::J /
!:'.::I/;;1.;;1.~7'~~(7)·~'.<'./7~'7I7'f.<(7)l'A~ .
.::(7)~ ~1:::::~ :.-~:.::I:.-;;~.;;~.~ 7'C7Jtf:tnt. ~·n 19> er.\lli'fiJ
b> ~«l~f·Q· ft... t JJfiEt L,. "'~' 1:'1~~1 / ~~ ~ 7(7)
iiijot:i;!li~~ . tntt~.::,::cot}..IJJ6~e~~~:: . r.t.~
iifi J C7Jrdla t ~Y~ :.-'::*• t... ~.<~·~~~:~A ?n T~· e
(7) "• e • .:: (7).:: t l;t. r .\lliifi JtJ<J!if-t::UH1114 t .., t tit
~*~~~~ -o T,lt~C7J~Y1/f~~t...T<tLe«l~
tt...TmfttttLT8~.::t~?~Aet~~~8.::t~ .
r.t.~iifiJtJ<r.m':: t..? t.. < t.. e t. rfttl!!J (7)«f~ t:Jtn? ~
etmt..~• . :::J/I:'.::I:.-;;~.;;~.~7'(7)~B~I::I.t, ,AJ<t;~
between merchants and their clien ts, which is known as the
POS (Point of Sales) System. In one sense, we can say that it
is the network itself that makes one huge public facility. But
this kind of network as software-architecture is invisible. It is
only ever the parts, each individual shop, which can actually
be experienced. Therefore, in terms of the network's strategy,
there may be an issue of exactly where to locate the outlets,
but there is no problem in terms of site specificity in the
design of each shop. For example, there is essentially no
difference in the layout of merchandise or the arrangement
of the signage within any network. In fact it is the sameness
of the specifications of the shop design that is the important
software for the management of the convenience store.
The existence of such convenience stores brings about the
birth of a building type having no regard for the so-called
038
.• ..- :a6r s3 . ~)JI!1:.-~-7-x:.- v-JI.t, 3::1: ~1~
;..-:,~.fl<> 1 {>(7)~:S~~? ttLtt:?- Y ~?-?~~ -oTB dt<tL6
tL f.> ~ 1 ) C7Jft!!l::, :?- ·~ ~ ?-? ~(7)fit. b• ~ t ~ U' t-::>
· C7J'f;~ fi!C7JM~f-~ . fr~0t...T~?«<!~~ U~1iC7J~~>itC7JtJ< . tC7J$~fi!!li!X t... , 'liti:iBL..T~•<
;~15ilii fJ"'
l'iil!!tJ<jo ~y~, e • .::nl;t , tC7Jiiiifil'Aeftil!!>H'J
-~~~~t~~ ~~~~l'A6 . 1 ~U*81.>~ C7Jto-:, ~ n'? ~~;t :~: to11§: A li~-tt t.. ~,n<. l!HfC7JOJfigft t
~~(7),..
I~Jt~et..?li, r7J>-7';.J~ ( f&:t!C7J ) Jl' Ae • .::
*-~ ~ m:t!!k.Wit~C7J~Y1 :.-t~ C7J~~f.>llll·f~U~ ~
'~';i-*~~ ~ t... .75 y ~7~-L.W~0?tL~.::tl'
, (7)~/ifil:t..-o T~·e . M~l.tt.::n·? ~ ,~~:::J:.­
lt~n< 11!1~ll.l' t t.. ~ •(7) lilft n• t...:: t coli t.. ~'to :s ~ n· .
foi"f?v
li, .::nn·?~r-t~~8*tt..r.,ab•Ae • .><~1" ·-r
K¥-l'it~ ~$~~?tLe . :J:~it~~U*8f.>;;1.D
/ · ~-'h-C7Jlt~l::l;t, tC7J~i.'ffil~eto~(7)
-1'tJ' t IJ ?~' T ~· T, lfi~tJ< ~ 5 ., ? C7JM:JIUII: >i -o T
tmmt...~~.tt:J:~:J:t..:?- y ~?-?tMm~t...~lt
•(7)1ft~Uik·R~~~..,y·~~~7'7~f~A
"'' .Q 0 ';/;r..
(.....
.~t?ne .
-::>?t. l!!d~~~;t~*etLH•6 . :ilOl\)Ji!i!i?/~-1:
:::J/I:'.::I:.-;;~.;;~.~7' . it~. "t'7:t->i~n< tt.g-t...tor 24.
ifrlt t... . iH6iii ifil~i!h' 1:: aM 18 .~)JI! :::J :.- "f ~ ·~ ? ;;~. J
ji~~7'-t:~Ju . :::~:.-~:.::I:.-;;~.;;~.~7'(7)~m(7)~ tt (j, ,:: (7)jf~~(7) tj:l 1', ;;( D -7tJ<it~(7)9~11jJI::Ql( I) i-t ( (7)
t< t .t.iiifil::b!l tl tL 1.>~•1in119> A 1::. ~.:: 1:: l't).. IJ ]6 A, 1'
1'1.t t.. < Jlim t.... t<? 1: M"F -3 t...liC7J~$1:U'f;tJ<~ It?
tt:J:~:J:t..~.g-fjot.::tw.~t•~.!lln~mcoae • .::(7)
nn •{> tC7Jcoa 6 • .::C7JU'f;l::fitt~'~.::tli. *EB
tl.g-I::~~J. ji~t"t7:t-l;tlj!Jrll(7)~.g-I::J:I:~T. ffi~ ~.
1&-'!'f!ili! t ~· ~ itil!!l::fit;.:: t co a et ~llij;l:, il~~u
~)JI!~1:: -<t -r-- ~ tt tL 6.:: tl::t..e • .:: C7Jit~t -<t 7 :t- t. q)~)M :?- ·~ ~ ?- ?(7) -$ t ~· ~-:!!(7)Jkjl!!l:fihi6 {; t
:?- ·~ ~ ?-? J:C7Jlii'fi=m:t! ttil!! f .!J.A? tL T ~· 6 C7J 1' ~ ~·~.::tcotae . U'l';C7JliB~t~ttltr23.1i:~AI~1
e . 13 e;m IJI::ilii t...~ r sa. 7 7';, ~ ~;;1.3£~J IH:I::!tr.t.i t 71~Jt~< fJ;l T t; IJ , .::.::l:ii~~UtJ<~)JI!:?-·~ ~ ?-?
tlll~to.A.Iil!!MC7J~I::, 3"mC7J~>ie 77';, 'J-~;;~. ~7 (7)<j:lil;ll'Rjo t< it{> I: 1~7'1 / ~~ 17(7) ~ ~ #D V' - tJ<
/t~~7::,..3 Y 7W~~fflii0TttA.~tC7Jl'Ae. 7
J>;,U- ~;;~.~5/UftLftLW7- r-/ Bf.>C7Jl',··~
~)Ji!C7J:?- y ~?-?f~AT~~.ii*~~U :::J /I:' .::I rliM J lft~C7JMI:~ -oT~ ~OJ~gzy it~ t ~· ~(7) lili*
:.- ;;~. ;;~. ~ 7' 1' h to~~ l::lii'fil::fllctf t... t..~· . t...n• t ttL w (f..JI::. ~:lltli3t~J<t;f~tn~e~ntt...T1Jh•T8to .
··~e-MU .~ti· ~·lif~~t...~)..I.I!ll' A l, tJ•L,., f&:t!!!Jkil!!C7J~.!llli, .::C7J11!8fWl1<$~6 . tC7J.::
tn<:tiii'teC7JI;t, :::~;,,.::7 1C7Jt.:::scomnnT~·to
'l';~fft.> ~(7)'J''2tli:~(7) :?- "J ~ ?-? (7)~jl Mli to f.> I: I~ sr.,an<.:: n n· ?~~ t..eC7J n· ~~At..< Tlit..? t..~,t
7' 1/~~~7fjoA.l'~·~ . llll~ilt(7)ffi~~/~-7' r ~~~.::tl'A6 . ffito>ilfH!lHhT . 3tl'o'iJJ<t;tJ<~U!JitL
concept of 'place'. They want to be able to melt into in any 18. distribution complex
location, and so the issue of ' place ' is avoided . This is 23. delivery spiral
horrifying from the viewpoint of architecture afte r 24. bath tour building
Modernism , which so strongly believes in the concep t of 53. dispersal terminal
'place ' as the major explanation for design . If 'place' starts to 58. fam ily restaurant triplets
lose its aura, then the concept of 'site' must also change. For
each convenience store shop, there is not only the physical
The coupling of architecture and the concept of 'place'
site, but it is also positioned within a site on a network. If we
Previously acted as a container for 'community'. But the
think of the physical site as 'real ', we can take the second
appearan ce of the 'vi rtual ' site dissolves th is couple,
type of site as 'virtual '. The way that this kind of virtual site
meaning that we have to work out what will happen to the
makes a relation with architectural design is an issue
ISSues Inherent in that concept of community. Will those
needing full considera tion. The buildings of Made in Tokyo
ISsues reappear as another guise of 'community' , or will they
include different types of networks with which to start this be directly propelled into a new idea of 'society'?
process.
Examples of virtual sites:
039