urban ecology
"If we stop using metaphors of mechanistics and semiology and start using metaphor of ecology, then it should be possible to discover layer upon layer of meaningful environmental unities, even within the landscape of Tokyo. This is a complex interwining of people, the flow of things, elements of the environment and time; something which can never be obtained by the bird's eye view. Through walking around the reality of everyday life, we can start to see an urban micro-ecosystem, or theatre of urban dwellers." p.36
Made in Tokyo , Momoko Kaijima, Junzo Kuroda, Yoshiharu Tsukamoto, Kajima institute Publishing Co., Tokyo, 2006
sabato 23 gennaio 2010
Kuma e Tokyo
"At the time [1970’s, ndR], I was interested in architecture that was a mapping of the city of Tokyo. This attempt to become involved in the city through a stratagem of mapping or correspondence was in part the result of the influence of my graduate-school mentor. Hiroshi Hara. Whereas the city planning schemes of the 1960s projected certain geometries onto the city, Hara’s stratagem was to reverse that vector and to map the city inside small projects. Making free use of various “mathematical” concepts and trying to map the city inside box-like houses, he attempted to reverse the expansionist tendency shown by Tange and Kurokawa.
What I did in Small Bathhouse in Izu and M2 was to cut-and-paste Tokyo-like forms and Tolyo-like objects. At the time, I believed that an approach based on the cutting and pasting and remixing of dissimilar elements was Tokyo-like in spirit." p.14
"The Tange Research Group received all the attention at the University of Tokyo because of its splendid forms; meanwhile, the Uchida Research Group quietly explored the material and physical potential of architecture, focusing on details and structure. When I was a fourth-year undergraduate student, I learned this approach from professor Yoshichika Uchida." p.18
Studies in organic, Kengo Kuma and Associates, TOTO Publishing, Tokyo, October 2009
What I did in Small Bathhouse in Izu and M2 was to cut-and-paste Tokyo-like forms and Tolyo-like objects. At the time, I believed that an approach based on the cutting and pasting and remixing of dissimilar elements was Tokyo-like in spirit." p.14
"The Tange Research Group received all the attention at the University of Tokyo because of its splendid forms; meanwhile, the Uchida Research Group quietly explored the material and physical potential of architecture, focusing on details and structure. When I was a fourth-year undergraduate student, I learned this approach from professor Yoshichika Uchida." p.18
Studies in organic, Kengo Kuma and Associates, TOTO Publishing, Tokyo, October 2009
Organisms as relationships Kengo Kuma
Organisms as relationships
"Even Wright did not think of an organism as a matter of relationship with the outside world. The biggest achievement of the twenty first century view of organisms has been the perception that an organism is not autonomous but survives through relationships with the external world." p.56
Organisms as a Yardstick (pietra di paragone) for architecture
"If the leading role in architecture is played by organisms called human beings, then it seems to me only natural to regard architecture as a matter of relationships, that is, the relationship between organisms and matter on the one hand and the relationship between organisms and the environment on the other" p.52
"The philosophy of Deleuze and Guattari is critical of the human tendency to frame concepts in terms of opposites. They not only are critical of the tendency to divide the ambiguous world of ideas in two by means of dual opposition but assert that dual opposition itself is invalid. […] The boundary between the two states [solid and liquid, ndR] is ambiguous and relative. That was the point made by Delueze and Guattari. The relationship between our bodies and surrounding matter is expressed at times as solid and at other times as liquid. Relationship determines everything." p.46
"Even Wright did not think of an organism as a matter of relationship with the outside world. The biggest achievement of the twenty first century view of organisms has been the perception that an organism is not autonomous but survives through relationships with the external world." p.56
Organisms as a Yardstick (pietra di paragone) for architecture
"If the leading role in architecture is played by organisms called human beings, then it seems to me only natural to regard architecture as a matter of relationships, that is, the relationship between organisms and matter on the one hand and the relationship between organisms and the environment on the other" p.52
"The philosophy of Deleuze and Guattari is critical of the human tendency to frame concepts in terms of opposites. They not only are critical of the tendency to divide the ambiguous world of ideas in two by means of dual opposition but assert that dual opposition itself is invalid. […] The boundary between the two states [solid and liquid, ndR] is ambiguous and relative. That was the point made by Delueze and Guattari. The relationship between our bodies and surrounding matter is expressed at times as solid and at other times as liquid. Relationship determines everything." p.46
venerdì 22 gennaio 2010
L'ordine nascosto di Yoshinobu Ashihara
L'ordine nascosto di Yoshinobu Ashihara.
arch. tradizionale giapponse:
- sistema montate-trave
- no pareti di sostegno
- importanza del pavimento - togliere le scarpe
- locali bassi
casa come camera da letto. Dormitorio. Le altre attività si fanno all'esterno.
Importanza dell'ombra (Junichiro Tanizaki)
occidente: ombre nette
oriente: ombre dai confini sfumati
"Questo contrasto è evidente nel paragone fra Parigi e Tokyo. Parigi è una città divisa, con preveggenza, in parti staccate dal tutto, mentre Tokyo segue il senso del tutto, avvolgendo tutte le sue varie parti. Parigi è una splendida, bella città invero, ma potrebbero incontrarsi delle difficoltà ad adattarla alle esigenze del XX secolo[...] Tokyo, per contro, resta un tutto inarmonico, dotata di una tenace sopravvivenza e di adattabilità amabiche. E' una brutta, caotica metropoli, ma è organica e in costante travaglio di compimento"p. 29
CITTA' AMEBA
ambiguità del profilo e delle forme, dotata di geometria frattale.
"Entriamo in un tempo in cui la realizzazione individuale e i gusti particolari richiedono priorità[...]. Questo spostamento di valori sta già cambiando la vita economica e politica, e senza dubbio ha attinenza con lo sviluppo delle città moderne. La qualità di una città come Tokyo, che è orientata verso le parti, benchè appaia caotica e manchevole di qualsiasi principio d'ordine, possono essere apprezzate dell'epoca che sopraggiunge" p.105
arch. tradizionale giapponse:
- sistema montate-trave
- no pareti di sostegno
- importanza del pavimento - togliere le scarpe
- locali bassi
casa come camera da letto. Dormitorio. Le altre attività si fanno all'esterno.
Importanza dell'ombra (Junichiro Tanizaki)
occidente: ombre nette
oriente: ombre dai confini sfumati
"Questo contrasto è evidente nel paragone fra Parigi e Tokyo. Parigi è una città divisa, con preveggenza, in parti staccate dal tutto, mentre Tokyo segue il senso del tutto, avvolgendo tutte le sue varie parti. Parigi è una splendida, bella città invero, ma potrebbero incontrarsi delle difficoltà ad adattarla alle esigenze del XX secolo[...] Tokyo, per contro, resta un tutto inarmonico, dotata di una tenace sopravvivenza e di adattabilità amabiche. E' una brutta, caotica metropoli, ma è organica e in costante travaglio di compimento"p. 29
CITTA' AMEBA
ambiguità del profilo e delle forme, dotata di geometria frattale.
"Entriamo in un tempo in cui la realizzazione individuale e i gusti particolari richiedono priorità[...]. Questo spostamento di valori sta già cambiando la vita economica e politica, e senza dubbio ha attinenza con lo sviluppo delle città moderne. La qualità di una città come Tokyo, che è orientata verso le parti, benchè appaia caotica e manchevole di qualsiasi principio d'ordine, possono essere apprezzate dell'epoca che sopraggiunge" p.105
linee ferroviarie Naomichi Kurata
"In Giappone non si può tracciare la storia della città senza parlare dello sviluppo dei sistemi ferroviari. Si dice, cioè, che la maggior parte dei nodi urbani non siano il prodotto degli interventi urbanistici dei governi locali o nazionali, ma piuttosto il risultato di attività commerciali o di strategie finanziarie di società connesse alle ferrovie." p.85, Naomichi Kurata, Casabella 608-609
città postumanistica Livio Sacchi Bernard Tschumi
"Un sistema che sembra concretizzare l'appello di B. Tschumi per una città "postumanistica", che intervenga, cioè, in un momento in cui le nozioni di unità e coerenza non sono più direttamente applicabili, [...] caratterizzata da ciò che si potrebbe chiamare decentramento, una dispersione del soggetto. Un sitema, infine, che sembra mettere effettivamente in scena il futuro e che non può non farci pensare che in fondo il "coas" sia soltanto un ordine da decifrare."
made in Tokyo
"We thought that although these buildings (intondono gli edificthe city i DA-ME) are not explained by of Tokyo, they do explain what Tokyo is." p.9
"The result of the observation also depends on the method of representation. If the method doesn't suit the observation, the result often can't be grasped." p.11
"Tokyo is a giant maze-like city without physical navigational aids such as axes or urban planning" p. 11
"Tokyo is really a contradictory place, because it is in fact these buildings which most clearly reflect it's quality of urban space, whereas the translation of issues of place through history and design seems like a fabrication" p.12
"The landscape of Tokyo is a Random layering of differents buildings corresponding with multiple social porpouses. We hope in our design work to clearly represent possibilities for urban future by being cenistent(?) with the principle findings of our research" p.15
"The result of the observation also depends on the method of representation. If the method doesn't suit the observation, the result often can't be grasped." p.11
"Tokyo is a giant maze-like city without physical navigational aids such as axes or urban planning" p. 11
"Tokyo is really a contradictory place, because it is in fact these buildings which most clearly reflect it's quality of urban space, whereas the translation of issues of place through history and design seems like a fabrication" p.12
"The landscape of Tokyo is a Random layering of differents buildings corresponding with multiple social porpouses. We hope in our design work to clearly represent possibilities for urban future by being cenistent(?) with the principle findings of our research" p.15
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