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  • アトリエ・ワン - 図解アトリエ・ワン - Atelier Bow-wow - Graphic Anatomy-Toto (2007)

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    Maíra Cristo Daitx
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    アトリエ・ワン - 図解アトリエ・ワン_ Atelier Bow-wow - Graphic Anatomy-Toto (2007)

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    35 views140 pages

    アトリエ・ワン - 図解アトリエ・ワン - Atelier Bow-wow - Graphic Anatomy-Toto (2007)

    Uploaded by

    Maíra Cristo Daitx

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 140
    a PUL? DY GRAPHIC ANATOMY ATELIER BOW-WOW PREFACE In some occupations, such as botanist or anatomist, the ability to make illustrations is @ necessary skill. They produce diagrams of plants and human bodies that are scientific works, not so-called artworks. Instead, their technique is restricted so that individual personality is suppressed. This clears the way for anyone, from anywhere, to contribute to the enrichment of our knowledge of natural history. Although these illustrations have @ photograph-like realism, they attract our interest in a way that is unlike photography. Elements are depicted by their outlines, and inscribed within these outlines are the nuanced hues of watercolors and sometimes lettering. The thoroughness of their technique produces drawings with an astonishing level of detail, and the diversity of the objects being studied comes to the fore. Being able to distin- guish each detail in an illustration is evidence that people have seen them, and is at the same time evidence that these objects guide the human eye. Through the liberation from subjectivity and the earnestness of observation in such illus- trations, the point of this book is to catalog houses designed by Atelier Bow-Wow. Previ- ously, Atelier Bow-Wow have also made illustrated collections of Tokyo's anonymous, tiny pet architecture and hybrid, junky architecture, but now they have used their skills, to give house illustrations a spatial depth, based on drawings such as plan details and section details, If they were photographs, probably @ great many would be necessary, but contained within a single picture is the composition of rooms and components, the adjacent exterior environments, actions and locations, and the relationships between ob- jects, This provides the appearance of multiple intentions fraught with contradiction and confrontation, organically linked through the medium of specific architectural elements, as well as producing the appearance of unexpected phenomena of light and daily life, in response to the physical constraints on each individual house. Without disregarding the places and people that comprise the initial conditions for each house, these are all the “practice of lively space.” Architecture that opens its eyes and strains its ears to this, diversity of spatial practice, encouraging and assisting it; this is the rediscovery of archi- tecture itself, That is where the aims of Atelier Bow-Wow lie ELK contents BR PhUL-DY GRAPHIC ANATOMY ATELIER BOW-WOW PI INIA sai House 10 =HINIA Mint House “ gaa ZB Kowonishi Camping Cottage 8 1 EMINTA woce House 2 YELE Moin House 2 NIAP YT House ssome NIAAA House saiko = “ BRINTA 0.0.8 House = YeOA-NIZ shottow House « PF ue “ BINA soe house — DRINIA wus House 2 AXKINIA t2u House BRAT stack 00g House DA-VIZ Lovo House Ya-Y—INIA suiey House PAINTA tho House BI-INTR oor House NOARP HUE TY House & Atelier Bow-Wow INIA-BT— wovse tower JB INIA Noro House PLLEE crone House AYE INIA vinsy House VILFLINIA mountain touse fECORSRUMICOWT ON THE BEHAVIOR OF HOUSES {ESOIRSMUMEDUT 07 the Benovir oF Houses a HF —5-BYH S11/200 Project dota / Drawings $:1/200 PENR ni House 120 BD-NDR 60k House ww = NR Mint Howse 1 DORBPHIETE House & Hele Bow-Wow we 1a9m127—¥8 Kowonishi Camping Cottage 8 —— 122 192-29 House Tower —198 EDINTR Moca House 1 D3-INTK Noro House AE Motn House ine LEE crane House — 1 NORPIS wovse same oa APE NIA VIMBY House —___ 1 9943 House Salto 1% POLFYNTR Mountain House — ue BRNIA 00S House 1 Pry IME LIVTR sungleaym House us PAB—NDA Shalow House 120 PANNA /UAMTOY=Ib Yoo Tong Hous /Tanjn Housing Pree! — 148 99 40 —__— 109 ROE—-IVIA Suey House —— ue E-IVIA Goe House 190 Sin NOR Bin House v8 DRINTR Kus House a 2-9-992Y-YAE Case Gronursme — 10 AZINIR teu House ———1 MRR Black Dog House BI-VR Lovo House = WIR soley House 135 8 Biography — 182 PANIR bo House 136 DUvob creatts— _ ase Ba PUL Dy GRAPHIC ANATOMY ATELIER BOW-WOW | PIINIZ Ani House 0 ] pane S/S pep nopum /maeaasci8 @) S/1'S peop rodeed / wanity wen nee roo ‘Ping beam deta 1/10 3 | : HE Bg “INIA Mini House s+ = = 01/1 prep 09 ue (aot ak 62.29) ep uonasuses ges Tanto @) al 02/135 seared undo onion sat 8 2 eed a ee ae eeigteay| maicnsechem HTT FEREN-2 henzontal section perspective sass Ae Psi tll ANERTAT-SB ~ Kawanishi Camping Cottage B WPA iy FRM /aerod dated 51720 |FRMEI/<—2 /horzontl secon perspective S:1/50 | ana7—28 Tetedrolen 02 bedroom deta 51730 owanshi Camping Cottage 8 I 19 SD RRURRR rage oeaT SITIO i WARM eaves deal 51/10 waRe—a =p & — 7 M i yf 4 + i es Siew erm BE “ joe ee | 4) coe =] — Se a [Ss sein 7 ~ ioe es ates 3 oma 4 FY REMNEIBL /itchen wing long secon $1/30 Pinth deta 1/30 Koworishi Comping Catoge 8 I a ENINIZ Moca House (06/1:S annzod0d uonseseiuomey /¥—S/aRA (06/1'§ eaysodsiod uon20s eonson / x— sO REG we ES TEP] sasseumagent a DQL gO = oe ee - “2YEVE Mofh House g a vy Wy yy i I} Wy Yi VW smme—2 horzontal section perspective 1/33. Mom House | ” ntutdosotent | me ee, q a i 58 loom Peseta ee regs | CREE x Mom House I 2» INTASP UV House Asama RE yy nen “BESS Saami ae neha 2 YARN / oulsninging window detal S715 House same I ” Eee agg thie shou (© MORE 7 ounswinging wadon detal S715 eer citer ‘FimieWa/\—A /onzontalsacton perspective 1/40 £ ben i ow en Ey INIAYIA House Saiko (DH AIFAR/ eaves age detal 51710 8 20438%89mm 206:58% 140mm 208:3831 84mm 210:38%235mn 61281403 286mm wae —2 verocl section prspect ive S153 ShetomeygatfmteSem | STEERS er ee (ARETE CE alae ae ABO Se SAMI / truss detail 51/15, House sano | s Zz | | HRINTR ss me tooo Tortonal section 1/33 op mamta 2ams hon FEiomon aerate ||| prayer ones, us lon $:1/33 To.as Howse | 2» ethane —-J\! How Ho} a 5 (a) eae | L “Tt | . tng a : 4 g i i ] | a | 2 7 2 2 I | Lom | coal eto |) te | ‘eo || coo | eo | too | coo 300] ze] f2 | 600 | 20 | 620 | fom | 20 | ho | ema 4 ra i 4 | | - Staton House I o [BEES seco " / ese tntR mn / Ee errs. —— SPB cs0.20%2 snmecesne SEEN Basosaos2 ame eton et 8m ime 7 BAS <7 HR parapet deta S175 sratow House ‘hae ss bs ee i i MN i \sorsaet voy | 8 3 e & gee bs | Seta v als 48 || 2Ssuo 5 5 HEiREee boon sae eel : eee || | # _f\Y) See ul \ rl IEEE X—2 / vertical section perspective :1/30 FLINIZ Gae House wmmet—2 veil section perspective $:1/40 a « pe 010 i _ | "FIRTH / horizontal section $:1/40 oe House | ° FRINITA Kus House ] anor (0f/1'$ omnsadssed uonses eon /¥- ama eee | psa horizontal section perstoctve $:1/30 ty yMFI/.—A1 / vertical section perspective 1 $:1/30 . 0 L 20 1 s | sane EES eee S28 nm atom aa tage ete a pm aggre, eee Lies, © (SRR / Docroom wal dead 521/70 BYE PRIMER / Wing room wal detad 51/70 2 pom -Lh LPL VC | Seer on Suomen Beceem TA a1 t 3) | esa = a Biome yY VP YA | OM J | mee — j . i Z : i | SRA mae of |: Fs , RRR / coon oS 70 eee | ee) Bo by Gal ttm bk sou | (sy ren RRIF. 2 / vertical ection perspctive 51/30 ‘ick bog House I e Loco House OANA (QO MOBHME window deal 51710 a Beto A \ (OD) AMTTAEE /comer detal 51710 ©) emir / kitchen detal $21/15 Soe aie. e009 Sete an = ho secon peapecive $:1/30 Sarna. = Par P-INIR Juicy House A Ao OWS Heep SHE /mRRETCHOEN L/S eve aneo auerue / weneTES (@) L/S weap deze /eamat <> 6949) eel coher ] i Chon Ea 3 SRA / ahora section pepe $:1/30 a _ see n PAINGR oN ! | Ako House ™~ i reap uonoas do joos/ eta a @) S/S mevop uonvos yom sromvon / enema. @ to House | * Erevan 78 | aowor [2.1 Ff SEES sama a BBecsstastem eames $6124 See a L [aibitienne A (amma [EE wes arommmsoing e110 an re ata seat gtemis \ ama \ ear a core oa ae an \ nl ae ee sos n | mp = EAE Yeap aeons penance ante ‘emaganash e2aenie Bee Shier. — eaves edge dead STAT 2 | FFIG/\—2 / vertcal section perspective S:1/30 200 0s 60x House | 7° INTR&PEILTDY | House & Atelier Bow-Wow @ MOM / window detal $110 ~ | nonareeny Fe Eyrwosaszans corre FER —2 Iorizontl section perspective S1/40 House & Aas Bow-Wow ] 8 "peweaha wus a PARIS BTOFIREL 7 around stars section deal 531/20 a | noma rnin gy House & Atelier Bow-Wow I ro House Tower | RIT <2 / vertical section perspective S:1/30 Stas deta $:1/20° D RRBARME star dec 5175, DymaRaS star deta 1/5 House Tomer I » IF INIA Nora House 0 | penn Seen, ea oe someon szgezsaeceime —_/ Eigen, Bbgoane coe ar emea<—22 vertical section perspective 2 1/33 | GS (ROWE window deta 1/10 Nore House | = Sae7"\ ate BeGiewems \ SRA /corer deta S175 ‘rane House ] 8 Crone House I o TYE--/\ YIMBY House Mey House I *° VISTI INIA ‘Mountain House 108 | woe No, | uy ay Mi feo /Buzesye gene feats! ce oo MFI / vertical section $11/40 108 | OEE NOR : WL ee | Tebeprnn ese l Gir RARER Baio Beas man Saget ‘ountin House l 105 {ESORSANCDUWT ON THE BEHAVIOR OF HOUSES On the behavior of houses Houses with character Atelier Bow-Wow has up until now designed about twenty detached houses and holiday villas, yet we {are often told that they each have @ unique character. Although we're not aware of any particular rea- ‘0n for this, the predominance of small houses is @ constant condition, and more than a style, it's the liferences in approach that have become conspicuous. This might be a strange simile, but we think that the characters of these small houses are lke nig! (hand-rolled) sushi. The compact format of a ign allows the flavors of al kinds of fish to be compared, and differences in the taste, shape, color, and texture of materials are converted into pleasure and richness. So inthe case of small houses, how are these ditferences in character produced? To begin by stating our conclusion, the differences in character are produced by basing the building behavior on the place for which each house is planned, along with s dash ofthe client's personality. Howover, there are various ways of reading and interpret- ing a place, and there is no typical way for a buliding to behave, Precisely because ofthis, their mutual relationship must be sufficiently convincing “The reason for addressing the behavior of these houses Is that we want the currant condition of To- kyo's residential districts to guide our hypotheses about the “city consisting of detached houses.” For example, in the urban districts of European cities we can perceive the behavior of each individual bullding against the background ofthe texture of streets and the harmonious compositional orders. This ‘common architectural language is understood by ordinary citizens, not just architects, so the meanings ‘of these behaviors are decipherable, and newly bult architecture can have a behavior that maintains a lalogue between history and the present day. A dialogue between architecture and city once existed in the towns of Japan, but this was completely disregarded during the period of high economic growth {and development, directly inked to modernization and industvialzation. Moreover, in Tokyo it has now finaly become extinct as a result of deregulation. Because of ths, perhaps i's unnecessary to be con- ‘cerned about things lke building behavior, yet this kind of behavior even now remains as stereotypical patterns in the way houses are bull, and exists as fragments in particular experiments. Examining ‘each one of these behaviors and giving a system to thelr ferences might be the basis for assembling ‘ micro-urbanism, allied withthe implementation of individual works of architecture as urban spaces. Here, while making comparisons between the houses of Atelior Bow-Wow, we primarily want to assess the relationships between building behavior and place, and to locate the methods and meanings of building behavior. The case of suburbia ‘To begin with, let's look at the Gas House, the Ani House, and the Mini House as examples of build ‘on me wor ot nowses 10 Ing behavior in stereotypical suburbia. Securing a garden to the south by pulling the building to the north can be seen as standard behavior for these sites. Except for in the southern direction, as the. sites become subdivided, the distances between neighboring houses are reduced. The more construc- tion there is, the more stifling it Becomes. In order to escape this vicious circle, the intention of these. three designs was to find new behaviors that are repeatable, and conform to small sites. First of al, momentarily forgetting the habitual trick for designing a house on a small site of using the entice allowable site coverage, as a itera interpretation of the principle of one site / one bullding put Into practice, a small volume is popped down at the center of the site, The building therefore becomes three levels high, and the site coverage is lessened. By eliminating fences, which make small sites feel excessively constricted, sightines may pass from the street to the depths of the site. The building is fel underground, offsetting the sightlines between the street and the house in- terior. In adcition, by making each love a single open space, apertures can be opened in any direction. ‘The principle of the method shared by these three design isto fist establish a distance from the sur- rounding environment, then remake relationships in every direction. The diferences between the th {osigns are manifest in the dtferences in their ways of making relationships withthe surroundings. In the case of the Ani House, the relationship is mediated by the window openings in the centers of three of the elevations. These each combine upper and lower floor windows into one large window,

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