japaarchitecture2017

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Mark Torbarina

https://markotorbarinaarchitectureblog.tumblr.com/

Each art space is defined by its angular textured walls which may seem complex, but do not divert attention away from the artwork instead draw the viewer towards each piece by teasing them with a glimpse (Highlighted in red). It is only when you transition from space to space that your focus is directed towards the architecture of the space. After studying the space, I believe that Hitoshi Abe intended this, His transitional spaces unmistakably push focus to the clean lines and intricate plays of light against the sharp edges.

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Minamidera (Art House Project) - Naoshima

Ihyō – Architect Tadao Ando worked closely with artist, James Turrell to create a building that is essentially an artwork on Naoshima Island. The building, a room with no fenestrations or known function. It almost goes against everything architecture strives for. Working with an artist like Turrell, Ando would have known that this building would appeal to senses in a much stronger way than he could ever imagine on his own.

Diagrams – The diagrams explain the purpose of the dark unexpected space.

Diagram 1: When first entering into the room, it is completely black. There is no hints of light.

Diagram 2: Between 3-4 minutes of being in the room, one starts to see a dim light appearing.

Diagram 3: 5-8 minutes into the experience, the dim light in the distance becomes more prominent.

Once leaving this space, you reflect on what you just experienced and tried to consider all the possible solutions as to how the light appeared.

Interior - The interior of this building is very simple, four walls, a floor and a ceiling. Although it is the concept behind the design that makes this space of nothing feel special.

(Flynn O’Shaughnessy)

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Flexible Boundries in the streets of Diakanyama 

The streets in Tokyo vary Greatly from multilane highways to narrow lanes.In Diakanyama we can see examples of busy vehicle streets and small lanes and how the flow of traffic changes between them. The busier streets operate as any other main road. pedestrians walk on the side walk and all other traffic flows through the middle. two means of travel moving next to each other but separated. Although in the small lanes the two forms of travel informally blend together. pedestrians are free to walk in the middle of the road provided there are on incoming vehicles. the space is shared, vehicles slow down and noise is reduced, becoming more comfortable and efficient for pedestrians. 

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the innovation of taking a glass box and extruding a repetitive pattern facade changes the form of the design whilst satisfying it purpose of lighting control perfectly 

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Ryue Nishizawa

By Brett Luke - u3144722

Teshima Museum- 30/06/17

After leaving the museum office I followed a path around the site, a peaceful forest path. It was raining; this only enhanced the experience. From one point you can see the ocean, a jetty, and some islands in the distance. The fog gives the island a feeling of whimsy. This walk has a calming effect, something about the meandering qualities of a path that doesn’t take a direct route is relaxing. When I arrive at the museum proper, I am asked not to take photos. I walk in, and the rain has fallen through the voids; but this isn’t the only instance of water. I am delighted to see that there is only one exhibition and it can only be enhanced by rainfall. There are water drops all over the floor, emerging from the floor. They roll to larger puddles. There is an slope to the floor that would be indiscernible if it weren’t for the water falling along it. I sit down near a larger puddle and watch as it gets larger from droplets from various directions; and then notice a larger hole where the water returns to it’s reservoir to repeat the cycle. The floor is polished concrete, so the water just rolls like a ball. The space is white, but there is no artificial lighting, so all light in the space is natural light that bounces off the white walls. There are also no corners in the space; This adds a sense of endlessness to the exhibition. The building is shaped like a raindrop, so it is in its very essence a subject of it’s contents. I could sit for hours in the Teshima museum.

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Kyoto National Museum  I   Yoshio Taniguchi   I  KYOTO  I  Water & Boundary

Water: creates gap and disappears the boundary of the columns and the ground.

The whole building feel like standing above the water and it makes the whole construction feel light, dynamic (when the reflection was vibrate cause by the wind)  and moveable.

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Garden of fine art  I  Tadao Ando  I  KYOTO  I  Water & Layer 

Surrounding by the water

Water: the fall and the sound of the water actually layering the whole gallery

On the entrance, where there is no fall of the water, feel quite and create a still feeling for the fine art work “water Lilies: morning” where it laid down in the water.

When go one step down the gallery, water fall down to a certain high, sound are created and creative an joyful atmosphere for the fine art work “On the Terrace” where the collection fix in the middle of the stone walls which were stand in the water.

Slightly going down and reach the lower part of the gallery, where there was a great fall of the water. The great sound of the water created a majestic feeling for the religious painting “Last judgement”.

Where they’ve got flat road to maintain the still, slope to enlarge the feeling of the sound volume and platform to narrow the great sound feeling.

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DAIKOKU-BASHIRA // ONE

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Flexible Boundaries In Junya Ishigami’s KAIT Workshop 

There is no division of space at the KAIT workshop. There is no defined circulation and no solid walls to divide space. Spaces inside the workshop are flexible and blur together as furniture potted plants and the 305 slender columns are the only division of space. the only physical separation from inside and outside are floor to ceiling curtain walls  that still connect the interior to the surrounding landscape. The use of potted  indoor plants and scattered column system further blurs inside and outside. the further you walk into the workshop the more enclosed the space feels and the closer you are to the windows the more your connected to the landscape. Ishigami has designed a highly functional workshop where spaces are flexible and can adapt the the needs of the students.Flexible boundaries allow the potential function of the building to be endless   

By Nathan Wright 

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This blog represents a summary of the 2017 Overseas Study program for University of Canberra Bachelor and Master of Architecture students is framed around an intensive overseas faculty led study trip to JAPAN. Students spent two weeks in Japan, visited 10 cities and architecture designed by Japanese leading architects.

The program interrogates cultural manifestations of Japanese architecture and the contemporary city through the lens of perceptual and existential space – within a conceptual framework entitled Material / Immaterial.

The program is conducted in three phases: a research and readings overview focused on the conceptual framework and its theory; fieldwork intensive in Japan within Tokyo, Kyoto, Kanazawa, Naoshima and related regions; and a compilation folio of the explorative interrogation and response.

This blog represents the summary of the diagrammatic explorations of the selected projects conducted by 3rd year Bachelor of Architecture students.

Program was led and organised by Ann Cleary and Milica Muminovic.

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21st Century Museum of Contemporary Art by SANAA | Kanazawa

This museum could be characterized as a shape shifting one, as many of its walls move around, creating space for new exhibitions. The glass walls at the center, depending how they are placed, change the circulation of the building, either allowing access or blocking it. Walls were hidden within other walls, and so when there is necessity for a more enclosed space they are taken out, changing the space completely. Even at the ceiling there was a system that allowed for the walls to be moved around easier, as well as some of the lights.

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The polycentric city of Tokyo consists of many architectural forms that clash with one another. Buildings are regularly clad with tile, concrete and timber. The city can feel disjointed at parts. although the  city is full of greenery in the form of city planned gardens to resident’s potted plants  outside their home and wild plants and flowers that grow between the cracks. This greenery is consistent throughout the city and acts as a buffer between clashing architectural forms and is the metaphorical thread that holds together Tokyo’s urban fabric.