Japan Architect - Housing

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JA 1991-4 HOUSING

33

location:

Joint Vemure of Oda, Patio, Wakuda, and site area: 28,1 area: 7,134m? total ;rre«: 23,047m 2 structure: reinforced concrete; I basement ancl 5 stories (medium-rise building), I basement and 3 stories (low-rise building) iloor area ratio: 82.0°·o building number o( date of completim:: ~·hy. I99I

(p. 27) Vit£<'1 tozr:l(lrdJ lbr uori/; m.:di:mt~riu building seen from tbe soutb mahum-ris( building. "' (pp. 28-29) South nw!inm-rise /Jwlding S
the· medimn-

u( 1be sou/b medium(2U{J •I 1 Mit.H:~!:

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5 levels ruu! black elements. Elements painted Nack are dispersed within tbe large site, gmerating au 11/usion of disorder whicb injlumces tbe scale of the open space. 5 JV) Yr.! IV(: m~ •.:L V J, ./ ~, fh:kltf(i~V)tjq:f.r, { 1t C; tlf::t.. v ~ / ~ t;t!f,({£ l. ;t -7'/ 7-......Z- AV)A?'"-J}"f'f1l

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of t!Je low-rise building.

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Perspeclive drawing oftl COIITI)'tlrd in !be lourrise building complex.

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of tbe medium-rise building.

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Perspeaive d"1wing of a COIITI)'ard in !be low-rise building complex.

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35

SOUTH MEDIUM-RISE BUILDING

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Soutb elevation,

UNIT PLANS IN THE MEDIUM-RISE BUILDING: Scale: 11200. •l'fllf*;z..::.., r77:--

Category I, 2LDK, SF.

36

JA 1991-4 HOUSING

NORTH MEDIUM-RISE BUILDING

•1·~1-ltNi

North ek11111ion; sct1k: 111,000.

Soutb &vation.

Top floor; scale: 111,000.

Middle floor.

Grolfnd floor.

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I

Category 1, 2LDK, 5F.

Category 1, JDK, 5F.

JA 1991-4 HOUSING

37

Category !, 3DK, 1,2,3F.

Category 1, 2LDK, 3F.

Category 2, 3DK, JF-5F Category 2, 3Dk, IF.

Category 2, 3DK, 1F, for the sroerely handicapped.

Municipal housing laws in japa11 classify housing units into two ojjicia/ categories based on the)n.come bmel of the tenant. Category I units,jor the higher:income group, are about five square meters larger than the Category 2 units. ftatt'm~'~· ftatt~~••~t•z~~9~n•. ••~2 I'U ~ 5m'll1*~ <, 2!U ~ b ;lJ;i'.TliHH·JflH l n· ~.

Category 2, 2LDK, 5F.

Ca1egory 2, 3DK, 2F.

Category 2, 2LDK, IF, for the severely handicapped.

North-south w·tiuu; J
LOW-RISE BUILDING f:<:!;iW

Upper floor. GroHud jloor; scale: 111,000.

.I

UNIT PLANS IN THE LOW-RISE BUILDING; Scale: 11200.

I, Category 2, JDK.

2F

1f Category I, 4DK (for multi-generation families, maisonette)

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JA 1991-4 HOUSING

lF Category 2, 4DK (for m11lti·genemtion families, maisonelle}

West elevation.

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I

Category 2, 2DK.

Category 2, 2DK.

Category 2, 2DK.

Category 2, 2DK.

Category 2, 2DK.

Category 2, JDK.

JA 1991-4 HOUSING

43

(pp. 40-4 I) Nor! ban t.'.rhTtor ~:r tlh' so!t!h nwlium-rist' building. (ltw'ngptt.gc, almzJt) 30-ml'lcr~~~JIIflrc cour{yard, mrroundal I:v lo·w-rise h!otks. (jil(J·IIg ptlgc, bdo11U Wi:stcm side of lih' JO·meler·sq/llm wurlyard.

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eKumamoto Artpolis ~~;$:7-r;f- 1 )A

KAZUNARI SAKAMOTO+ ITSLIKO HASEGAWA+ YASUMITSU MATSUNAGA

Takuma Housing: Master Plan n~;tm-&it~l1lt&·i:it~tillli

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A rebuilding of an older housing development (4 hectares, 288 households, built in the late 1960s), this project provides 375 households and was completed in 3 phases, each 3 years long. The site, which is located in the northeastern part of the city of Kumamoto, is on one side of a bypass surrounded by distribution-industry facilities. There are hills on the northeast, a residential district on the south, and a large supermarket on the north. The apartment buildings are positioned around a north-south central promenade (Greenway) serving as the plan axis. They are all from 3 to 5 stories tall. The 3 built in each phase plus 2 existing buildings make a total of 11. The exclusively pedestrian central Greenway serves as the backbone of the entire development. Its width varies to create a number of assembly places-croquet grounds, children's park, plaza, and so on -open to people in neighboring districts. In an unusual departure, 3 architects participated in all phases of the project from establishing basic policy ideas throughout all 3 construction phases. Ordinarily, when more than 1 designer cooperates on a project, construction phases are divided among the members of the group. In this instance, however, cooperation was much tighter because, th£>ugh the work arrangement entails more difftculties, a diverse overall composition was required.

(above) Site. (rig/JI) General vie-d!-tbe preliminary desigJI stage. il:l 'r.fi'Jti!JTr.

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KAZLINARI SAKAMOTO Studio

Takuma Housing Project l!!i*m1il'Hm:CJJil!! l;&*-/iX,li!fJell£

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First floor (Phase 2); scale: 11800.

Staion (Phase 2): scale: 11500.

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JA 1991-4 HOUS!NG

Unit type D.

Unit type R

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Unit type A; scaic: l/200.

Because of high density and the need to give priority to privacy, apartment buildings in ordinary housing developments tend to be aggregations of dwellings completely shut off from each other. Lacking continuity with surrounding town spaces, both the buildings and the developments they compose seem self-contained, isolated, virtually autistic compositions. · Like Common City Hoshida, Takuma Housing connects with Greenway, the main thoroughfare traversing and leading (except for vehicular traffic) outside the development. Our plan introduces the Greenway public space, which connects the various apartment buildings, into the buildings themselves. In other words, the 3 buildings cross or stand along the Greenway or intersect it at right angles. Communal passages (5 meters wide) branching from the Greenway pass through the centers of the buildings. Mostly open to the sky, these indoor passages connect with the buildings by means of gently sloping ramps and staircases. In addition to providing residents with semi-indoor semi-outdoor routes of access, the passages connect with the central Greenway and with roads leading out of the development. The open spaces above them introduce air and light into the apartments and connect private interiors with public (or common) passages. An assembly space adjacent to the central Greenway is located above the intersection of2 of these internalized passages. Though centrally located, in terms of motion lines and space, it is open to the world outside the housing development. In short, while taking steps to improve the comfort 'of the apartments, this plan attempts to suggest how to plan a housing development with continuity between interior and exterior spaces, connections between public and private zones, and smooth relations between the development and the surrounding region. (Kazunari Sakamoto)

location: Kumamoto, Kumamoto Prefecture architects: Kazunari Sakamoto (Tokyo Institute of Technology) client: City of Kumamoto structural engineers: DAN Structural Design general contractors: Koshin-Fuji JV site area: 35,873m 2 building area: 966m 2 (building 3), l,OS!m 2 (building 5), 703m 2 (building 8), 259m 2 (assembly hall) total floor area: 3,479m 2 (44 houses) 3,785m 2 (48 houses) 2,529m 2 (32 houses) 417m 2 (assembly hall) structure: reinforced concrete void and rigid frame struc· ture; 4 stories floor area ratio: 80.86% building coverage: 23.170/o number of housing: 371 projected completion date: March, 1992 (phase 1), March, 1994

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(pp.50-51) Jforid.< oftbe Pb,li,' !.

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Ammbly hall (Phme 2), .firs/floor; scale: 11300.

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Secoud floor.

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eKumamoto Artpolis/lffi;$:7-~;f,IJ?,

ITSUKO HASEGAWA Atelier

Takuma Housing Project

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Soulh eleva/ion; scale: 11600.

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My goal is not producing individual buildings but creating entire environments, like this housing project. Throughout design and supervision, I pursued aims adopted at the outset: investigating of the nature of municipal housing and public architecture and proposing possibilities for their future development. The Japanese residential environment is characterized by fragile wooden architecture and a strong tendency to natural generation. The sudden introduction into such an environment of a group of homogeneous, massive, artificially regulated apartment buildings creates a wo~ld that is isolated from and alien to its surroundings. As time passes, however, life evolves inside and outside the buildings. The trees grow. And, as these things occur, the settlement acquires contingency and irregularity, enabling it to blend gradually into its setting. Possibly part of the appeal of housing developments alive with activity is this strange blending of regulated artificiality and biological natural contingency. Stimulating the unobstructed emergence and overlapping of such conditions ought to be a

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JA 1991-4 HOUSING

major theme in reconstruction plans for housing developments. For the sake of apartment buildings with a high degree of spatial diversity, I have attempted to use articulation differentiation in the system for repeating housing units. To impart the appear of natural generation in an artificially created structure, I have mixed forms instead of striving for definite regularity. The entire site slopes. And I have made maximum use of the incline in the hope of producing residential boundaries that fit in well with the local environment. I have avoided buildings tall enough to thrust conspicuously higher than the ordinary dwellings nearby. The basis of the assembly method is a system of repetitions of the staircase-room form. The junctional staircases are passages and light and air wells too. The apartment blocks on either side of each staircase are subtly out of alignment. The system of differentiation and repetition results from bit-by-bit horizontal rotation that makes neighbors of buildings of different types. (I tsuko Hasegawa)

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location: Kummamoto, Kumamoto Prefecture architects: ltsuko Hasegawa Atelier client: City of Kumamoto structural engineers: Umeiawa Structural Engineers general contractors: JV of Fuji Corporation and Koushin

G.C.

site area: 35,873m 2 building area: 1,077m2 (Phase 1), 955m 2 (Phase 2), 954m2 (Phase 3) total fklOr area: 3,555m 2 (Phase 1), 2,755m 2 (Phase 2), 3,1 04m 2 (Phase 3) structure: reinforced concrete rigid frame structure; 4 stories ' noor area ratio: 80.86% building coverage: 23.17% number of housing: 120 projected completion date: March, 1992

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55

56

JA 1991·4 HOUSING

JA 1991-4 HOUSING

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8 Kumamoto

Artpotis.'!i~;$: 7

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YASUMITSU V1ATSUNAGA/SI
Takuma Housing Project

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Elevation; scalt: 11600.

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The housing project master plan, which we helped to develop together with two other architects, was proposed as an alternative to the monotonous and monumental townscapes which are the typical result of developments based on Modernist urban theory. In accordance with this master plan, our housing blocks were conceived so as to introduce a variety of ideas derived from the indigenous climate and the traditional life-style of this region. In order to avoid unnecessary fragmentation of the limited floor area allowed for these public hous-) ing units, all of the rooms in each unit-except for one segregated bedroom space~are laid out in a manner which allows the rooms to be linked together, to become a spacious single hall which can be used for different kinds of occasions. This kind of space is a tradition still prevalent not only in this region but also in many other regions of Japan. Tradition is recalled in yet another way: by means of the flexible structural system consisting of layers of horizontal slabs supported by wall-columns, most of the units are provided with openings along three sides~imparting the feeling of free-flowing space which is characteristic ofJapanese traditional

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JA 1991-4 HOUSING

architecture. With a diversity of floor plans corresponding to the complicated program prescribed by the city government, the unit blocks are simply "stuck together" at random angles, forming rather irregular elewtions. Deep eaves and balconies extend around the blocks in response to Kumamoto's climate of heavy rain and high temperature; these projected elements, together with the translucent railing walls, obscure the outlines of the blocks and deprive them of any hint of monumentality, ir; line with the spirit of the master plan. The "fractal" and rather "fuzzy" design of our blocks was kept amorphous until the last moment of the design process, spontaneously responding to the ever-changing outline of the other housing blocks and the landscape-a process made possible only by means of CAD. If the resulting townscape is somehow evocative of the ambiguous and inscrutable structure of traditional towns in the East Asian monsoon belt where Japan is situated, then we can regard the project as a successful expression of our original intent. (Yasumitsu Matsunaga)

location: Kumamoto, Kumamoto Prefecture architects: Yasumitsu Matsunaga I SKM Architects & Planners client: City of Kumamoto structural engineers: Matsumoto Structural Design site area: 35,873m 2 building area: I ,301m2 (building 1), 405m2 (building 4), 637m 2 (building 7), total floor area: 5,126m2 (building 1), !,688m2 (building 4), 2,564m 1 (building 7) structure: reinforced concrete wall; 5 stories floor area ratio: 80.86% building coverage: 23.170;\J number of housing: 127 projected completion date: March, 1992 (phase 1), March, 1994

1 BEDROOM 2 DiNING KITCHEN

3 JAPANESE STYLE ROOM

,I

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7jpicaljloor; scale: 11500.

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SEJII\J1A Architects &

Saishunkan Seiyaku Women's Dormitory

This dormitory for employees of a local business enterprise is situated in a provincial city about an hour and a half by airplane from Tokyo. Since the :.vomen who inhabit the building, live and study here for only the fmt year of their employment, communal living among 80 people instead of comfortable, well-equipped private rooms received major design emphasis. For instance, providing a large living zone was considered more important than slightly individual living spaces. A spacious common bathroom was preferred to individual baths. As a result of such considerations, each room has been designed to accommodate 4 people, but the communal spaces are as large as possible. From variations worked out during studies of the relations between private and communal space, we selected the ones in which relations between the 2 were closest in terms of physical distance, framework, and quality of completed spaces. The working plan called for an almost 1 room arrangement in which each person can feel free to use the entire building as an extension of her own private space. 2 dormitory wings, 4 meters from the ground, are positioned on the site long axis. The space between them serves as a general living room. There is a terrace on either side of this space. The large 2-level space that includes the living room also houses entrance hall, manager's office, guest rooms, baths, and terrace. Because having them open at 2 ends was desirable, the sleeping-quarters wings use reinforced concrete wall~posts and void slabs in 1 direction only. Both sides are partitioned with aluminum sashes with identical cross sections. The structure of the large space consists of reinforced-concrete slabs on which stand round steel posts. These elements bear vertical loads. Horizontal loads are dealt with by means of 5 towers rising from the first story. Toilets are located on the first levels of the towers. Above the toilets are air-conditioning and ventilation equipment, plumbing for the large space, and lighting for the spacious outdoor peripheral zone. (Kazuyo Sejirna)

Section; scale: 11400.

SectioN.

1 BEDROOM 2 LIVING SPAC€ 3 HALL 4 BATH ROOM 5 GUESTS. RODM 6 TERRACE . 7 ENTRANCE 8 CARETAKER'S 9 LOUNGE •

(facing page) Night viw of the nor/hem exterior. (63J() ~tll!ll1-lttl't1:.

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JA 1991·4 HOUSING

First floor; scale: 11400.

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location: Kumamoto, Kumamoto Prefecture architects; Kazuyo Sejima Architects & Associates client: Saishunkan Seiyakusho Co., Ltd. structural engineers: Matsui Gengo + O.R.S general contractors: [wanaga-Gumi site area: !,223m~ building area: 851 m~ total floor area: !,254m~ . structure: reinforced concrete and steel frame; 2 stones floor area ratio: 102.5% building coverage: 69.60AJ date of completion: November, 1991

JA 1991-4

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73

BEYOND THE VISIBLE COMMUNITY Kazunari Sakan1oto

. I >;

I. A Mazelike, Disorderly Community This spring 57 units representing the eastern half of the A2 Zone in "Common city Hoshida", otherwise known as Project HUL, were completed, and they have since been occupied. The community center in the middle was fmished this summer, and construction on the remaining 55 units in the western half of the site is proceeding with completion expected next spring. One can now get a fairly good idea of what the community eventually will be like. It is not yet clear how the new occupants are responding to the community since only a scattering of comments has been received. In April Mr. Mitst•tada Kato contributed a sympathetic article, describing the community and his impressions of its spaces, to the Osaka edition of the newspaper Asahi Shinbtm. According to him, "a visit to the community is like entering a maze. Roads and special 'greenways' are arranged in a complex manner on the north-facing slope, and the overall organization of the community is diffiCult to grasp, even when one is walking around. There are no straight roads or long stretches of fence. Instead, one encounters only walls of aluminum and concrete painted in pastel colors. These are su~mounted by light, pitched roofs. Nothing accords with our conventional image of a neighbor hood of detached houses. It is almost as if the townscape had evolved naturally over an extended period of time. Ambiguous

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A Community with Many Parts Modern new towns are typically not disorderly or difficult to understand. This community is very different from uniformly textured and clearly organized new towns which are based on strong, unifying master plans; the typical new town is all of one thing and does not have different parts into which it might be analyzed. Mr. Kato states that, although the buildings at Hoshida are made of contemporary, manmade materials, "the townscape might almost have evolved naturally over an extended period of time". I understand that there are many other people to whom this project suggests a traditional community, a

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spaces are generated ... " The community, being only half complete, certainly must appear fragmented and mazelike to a visitor, and its overall organization must be difftcult to understand. Depending on one's viewpoint, the community may even appear disorderly. The seemingly scattered arrangement of the units and the confusing pattern of roads and greenways may suggest a lack of coherence. As I will explain below, no particular effort was made to realize scenic design, and in that sense, there may well be an absence of unity. Perhaps one may discover in the wall planes and pitched roofs an order based on reiteration, but one is not accustomed to seeing these fmishes and forms in residential areas.

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slum settlement, or a community that has evolved without a plan. Such a community, being a collection of small, frag. mentary parts, is characterized by dispersion rather than unity. That is probably why people feel that the organization lacks coherence. Moreover, each building responds to the topography and to other buildings, and that has given rise to a smooth continuity of environment. Small, precise adjustments have been made to the buildings and the landscape; as a result, many parts have been generated in many places, and the environment has become very articulated. This space does not have as its premise a unified whole; instead, it is made up of parts, each in its proper place. The mazelike, disorderly quality some people see in Hoshida may be a characteristic of communities built up of many parts, such as towns that have evolved spontaneously, or it may simply be an image created by the assemblage of such parts. Is a Community with Many Parts a Mazelike, Disorderly Community? I have stated that the community seems maze like and disorderly because it appears as an assemblage of parts. Certainly contemporary as well as traditional communities that are collages of fragmentary parts have been known to cause confusion: However, is a community composed of many parts really a mazelike, disorderly community, and. is a mazelike community a com-

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here, will describe below, is one which generat.es "detached houses that are intended to be assembled". !Fle fact that the site is a nor~ing slope with a gradient of approximately 1 to 10 greatly influenced the siting, layouts, and heights of houses, particularly because of the way it affected the units' exposure to the sun. It made a smoothly continuous topographic profile necessary; retaining walls and terraced lots were avoided in favor of sloping land.

bordered with greenery) that runs diagonally across the site. This central greenway provides residential areas that lie beyond this community with a short cut to a railway station. It passes through the center of the community (and is oriented in the direction in which the land opens out naturally.). Along it are located facilities such as an observation deck, the community center, a central plaza, and an outdoor meeting area. Branching off this central greenway and following contour lines are many other greenways and green areas. A number of roads come in from the periphery of the site, likewise following contour lines and interlocking with the green ways and green areas, converging at the center of the site. The houses are situated between roads and greenways. There are three streams; one flows along the central greenway running di?~,mally across the site, and the other streams flow east and west. In places the streams are diverted to the periphery of the community. The gradient of the site is used to create different features including rapids, a waterfall and shoals. Thus the overall structure of the town is fairly schematic and not very complex.

Overall Structure The overall structure satisfied these conditions and the program. At the heart of this community is a greenway (i.e. a path

The Smooth Siting of Units and the Generation of the Parts of the Community The idea behind the overall structure of the community is, as I

II. Preconditions and Program The A2 Zone in Common City Hoshida has a clear, simple structure determined by the preconditions and program of the community. The community, 2.6 hectares in area, consists of 112 units of two-story houses, a community center, roads, greenways, green areas, and streams. The program of the competition for which this scheme was originally proposed asked, "To what extent can houses be attached yet seem detached?" T~~~.r here would have been impossible with truly detached houses; (

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have already stated, clear and simple, but since this organization has been applied to a site with undulations, albeit gentle ones, the community is not a self-contained or geometrical entity but rather an organic structure adapted to the natural topography. The 112 units, flanked by roads and greenways that follow contour lines, do not differ much in size, but each lot has a different configuration. These lots are not large enough to provide buffer zones between the houses and the roads and green ways, so many different plans were needed to respond to different situations. The site confrguration, the direction in which the road lay relative to the site, and the presence or absence of a slope inevitably made 40 types of unit plans necessary. Furthermore, when these unit plans were applied to actual sites, the need to assure suffrcient sunlight exposure for the main rooms and to take into account the location of the parking space and the extent and direction of the slope of the lot made it necessary to carry out fme adjustments oflandscape elements such as roads, greenways and streams and to develop approximately 50 types of housing units. (If plans that are mirror images of each other are counted as the same, there are 30 types.) The different types of units are not a response to different lifestyles or different family compositions; they respond to the different topographical conditions of the lots. This should make it clear that the program, which required that the buildings be

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well adapted to their respective lots, led to the development of the many different housing types. Adjustments were made to provide units with good connections to roads and to assure sunlight exposure, but practically no modifrcations of the townscape were undertaken for so-called "scenic design" reasons. This gives the townscape an unexpected appearance. The arrangement is quite simple and ordinary. Where there is a succession oflots with similar conditions, the units are the same; where the conditions are different, the types are also different. This has given rise to a townscape characterized by diversity. This community, despite its simple and clear overall structure, is mazelike and diffrcult to understand because many parts have been developed for it. III. To Live in a House is to Live in a Community It is said that in walking around this community one has a strong sense of the overlapping of space. This is probably due not just to the way units situated on sloping land overlap when seen from a distance but results also from the permeability of the space; the townscape is always visible beyond roads, greenways, side paths, streams, and green areas or through carports and gardens. And perhaps there is an element of cubist overlapping in the external forms of the buildings themselves. This is the space that manifests itself in the townscape. It becomes a part of

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the daily life of the resident and reinforces a sense of oneness with the community. The unit types that I have mentioned are practically the same in plan. In principle, each lot faces a public space like a road or a greenway in the front and back, and the unit is very open in these two directions; this establishes the basic path of circulation. The L-shaped plan, which takes up much of the lot, leaves a garden. The wall of the unit next door is used visually to make the garden courtyard-like. The garden is not open just in one direction; in addition to being open to a road or greenway, it leads to the built-in carport and from there to the road on the opposite side. Thus the garden is spatially continuous with the public places outside. The main room of the house, which is very open, is located in principle on the second floor. It opens directly onto the road or greenway from an elevated level, thus making the unit, which is small in both site area and total floor area, seem more spacious and making the townscape appear more extensive. The entrance to each unit opens directly onto the road. Even when the entrance is set back a little, the outdoor space is pulled in so that the private and public spaces overlap and an overlapping of domains takes place. In this way, each unit communicates directly with the outside, and there is a spatial overlapping of private and public domains.

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The Whole Visible in the Parts, The Whole Continuous with the Parts. I have stated that to live in a house in this community is to live in this community. Of course what is perceptible from each unit is not the whole community but a part of that community. To a visitor, what is made manifest is fragmentary parts or a collection of such parts. However, to the people who live here and are familiar with this little community as a whole, the fragmentary view is continuous with the totality, and it is the whole that he or she is seeing. The stream that one sees flowing past him at a given spot has flowed from the hill toward the south, forming the edge of a

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linear park which leads into the central greenway, and has then been split into three smaller streams. One of these streams has run along a road or greenway and arrived at this spot, from whence it will flow gently back to the central greenway and, after becoming a cascade in a northwestern corner, pass out of this community. Does not one see the fragmentary part of the stream before one's eyes as a part of the entire course of the stream? Does not one see this road, even beyond one's range of immediate perception, gently curving and arriving at the central greenway in front of the community center? It is an obvious point, but these places relate to other places as I have explained and are a part of the overall structure of this community. In a community composed of parts, each part is a space in which is recorded the relationship of the part to the whole. However, it is only the people who are familiar with the community as a whole that can see each part as such a space. Therefore, a person who has experienced this community and is familiar with it, and a person who is merely visiting for the first time, will see different communities. To the former it is decidedly not disorderly or mazelike; to such a person the community as a whole and its organization are apparent in each partial place. Beyond the Visible Community

The structure of this community as a whole is rather simple and clear as I have explained. The reason this community appears at first glance to be complex is that its overall arrangement is based, not on geometry, but on the natural topography of a sloping site. That being the basic idea, the units and the landscape have been treated as being of equal value. Again, as I have explained, that has resulted in the creation in this community of many parts. The space that is made manifest is one in which there seems to be no totality. Such a space would be quite contemporary in feeling, but in fact that is not the real space of this community. The space of this community consists of many parts linked together. It is continuous in its flow, from unit to road, or along a stream. This organization and space are implicit in each part of the community. That is because this community is composed of the network of relationships described above. (translation into English by Hiroshi Watanabe)

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NEXUS WORLD Producer: Arata Isozaki Coordinator: Fukuoka Jisho

Model of the Nexus World Project. (Photo: Courtesy of Fukuoka jisho.)

Site; scale: 113,500.

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l OSCAR TUSOUETS BLOCK 2 CHRlSTlAN DE PORTZAMPARC BLOCK 3 OSAMU lSHIYAMA BLOCK 4 MARK MACK BLOCK 5 REM KOOlHAAS BLOCK 6 STEVEN HOLL BLOCK 7 COMMERCIAL BUILDING BY ANDREW MACNAIR B ARATA ISOZAKI BlOCK 9 FOLLY BY ZAHA HADIO 10 FOlLY BY DANIEL UBESKINO OVERALL LANDSCAPE DESIGNING, MARTHA SCHWARTZ

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The housing development known as Nexus World occupies about 5 hectares on the sea side of Kashii in the eastern part the city ofFukuoka, on the southern island ofKyushu. In recent years, the local population has been dramatically increased by growing numbers of people who live in Kashii and commute to work in Fukuoka. To house these people, virtual forests of contextless, medium-rise, blocks of f1ats have grown up, creating the kind of personality-less vista typical of Japanese cities. The Nexus World project consists of 2 phases, the first of which has been completed. The f1rst-phase area is an inverted L adjacent to roads on the east and south. This land accommodates 192 dwellings in low-rise and medium apartment buildings plus 16 stores. The following 6 architects participated in the project: Oscar Tusquets, of Barcelona; Christian de Portzamparc, of Paris; Mark Mack, of San Francisco; Rem Koolhaas, of Rotterdam; Steven Holl, of New York, and Osamu Ishiyama, of Japan. Arata Isozaki was the overall producer. In the center of the second-phase site will stand Isozaki's Twin Towers, 2 high-rise apartment buildings. On the east side of the Steven Holl bu~lding will be a commercial building designed by Andrew MacNa1r. Overall landscape designing, including that of a public park, is being handled by Martha Schwartz. Follies designed by Zaha Hadid and Daniel Libeskind are scheduled to stand in the park. At the start of the project, Isozaki proposed 2 questions to serve as general propositions: "Is true architectural internationalization possible?" "Is a new collective form-that is, urban

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creativity-possible?" Feeling the rigid, traditional European master plan has no place in Japanese circumstances, Isozaki roughly established placements and volumes and left architectural forms up to the designers' discretion. During repeated discussions of this practically experimental project, the architects adjusted and corrected mutual relations emerging during the intermediate process. While doing this, they evolved own independent designs. For a long time, architects had little or nothing to do with the design of apartment buildings in Japan. And very little noteworthy was forthcoming in the field. Singularly stereotyped box apartment blocks with fixed-pattern f1oor plans sprouted up everywhere. In contrast to these developments, Nexus World sets out to provide diverse residence plans to suit the needs of various life styles. In other words, its apartment buildings generate the feeling of individual houses. Communal zones and such circulation spaces as corridors and staircases are plentiful and varied. Participation in the project by architects from the West, where the apartment-building tradition is old and established, made it possible to transcend existing Japanese concepts and provide intensely individualized spaces with impact. In this sense, Nexus World can be said to indicate new possibilities for Japanese apartment buildings of the future. Moreover, the look of several residences grouped together generates fresh spaces in a formerly contextless city. It is to be hoped that Nexus World will stimulate more projects that interpret architecture on an urban level, thus transforming the Japanese cityscape.

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ONexus World Kashli/:j',?-!f.A'J-IW§'lil:

STEVEN HOLL Architects

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28 dwellings are arranged in a comb-shaped plan around 4 open courts facing south. In the secondstory court on the south side, a pond, the bottom of which is spread with black gravel, projects a sense of emptiness. Light reflects into the dwellings from the surface of the water, which, at the same time mirrors objects and events taking place around it. These open courts are paired with covered courts on the first story north. Connected with the central park, the covered courts provide meeting space and a play zone for children. Void spaces like these are one of the main concepts of the project. They function in many ways both practically and visually. They mitigate visually between unit interiors and street spaces. As public zones, they are extensions of the units. Moreover, they make ii possible for each unit to have openings in several directions. Keeping the comings and goings of people always in mind, the designer planned passages that are more than mere access: they are venues for diverse expenences. The residences are of 5 different types. Their plans are either L or I shaped. The 2-story maisonettes are designate D for double. There are 5 combinations of plan and elevation (DI and DL) and 18 variations, determined by the location and conditions of the unit within the building. To suggest spaciousness while maintaining continuity, the levels of the maisonettes vary by half a story. Inside the units, the concept of hinged space modern application to the versatility of the traditional Japanese fosuma sliding panel. Light, colorful, wooden walls turn on pivotal hinges, making it possible to combine or isolate spaces according to hour, season, and family makeup.

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(pp. 94-95) Exterior view from the south. (pp. 96-97) Opm courts spaces on/be smtli! side. Sunlight is rej/ectul by the shallow pools. (above) Vie-& of the north side from the parking lot, showing a series ofcovered court spaces. Residents approach their apartmmts by stairway. (facing page) Walkway on the fifth floor. (94 • 95Rl iiH!!Wfit (95 · 9HO mflllt-7';,- · =t- f. *"'lH'I1.ii!!I))OCQt!CiJ 1I.ll ~"' \. · =t-f. ~lftJilt,..;n;;, ttAI£1lil.\ti,..;iHflh77'o-f-·to.

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The design reflects the architect's long-held interest in a kind of composite dwelling that is neither a cooperative nor a collection of single-family houses. In this instance, 24 independent, 3-story dwellings are contained, 12 each, in the Rem and Koo!haas buildings. From the design stage, the heights of these buildings were restricted. The decision to do this was in· fluenced by Arata Isozaki's futuristic "sockle" foundation concept. Distinctive black-concrete external walls imitate the massive. stoneworks of Japanese castles. They create an enclosed plan and ensure privacy by blocking sight lines from the Twin Towers. Ramps approach each dwelling from the north. Each is completely isolated from its neighbors by walls. Rising vertically, the dwelling surrounds its own inner garden space, which admits light and breezes into a,n otherwise enclosed environment. Dwellings are of 2 types: maisonettes with a 3story open zone and apartments with a 2-level terrace. A private rock garden and entrance foyer are on the first .story, bedrooms are on the second, and living and dining rooms are on the third. A steep staircase connecting the 3 stories reveals different situations at different levels. The facade is distinguished by strong contrast between the strongly vertical orientation of glass and sashes in the first-floor shop section and the massive upper walls, from which the wavelike forms of the roof are partly visible. Four kinds of glassclear, frosted, blue, and wire-reinforced-make a virtual collage of the third-level windows.

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1 DINING ROOM 2 KITCHEN 3 LIVING ROOM 4 STUDY ROOM 5 ROOF TERRACE 6 BEDROOM

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(pp. 106-107) Exterior vi,-,;; from soulh, Rem Building left and Koolhaas Bui/di},g (above) Sew from above, the softglow of !he interior lighting)'ields 1111 impressive view. (Photo: Courtesy of Fukuoka jisho.) (facing page) The jtw1de of the Rem Building seen from tl!t" east. Tht· apar/mmt cntmnce.; me approached b)' rtllllf'W!IJS. OD6 · l07.CO llit·~0JHII.. ,·ri;tl\!l:lltllt'J.i o. iKITl '"""·!Jiii:'il!l!!joH,JI.o.

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(pp. I /0-///) Anticipating tbc erection of !Jozaki:< Twin Towers to the norJb, the living spaces are closed off to that side. Natural lighting and ventilation are achirocd by means of inner courts. (leji) The inner court sm1 from the mtrance. japamse tmdi· tiona/taste is expressed by tbc white gravel and bamboo. (facing page) Looking up through tbe three· story inner court. (HO·llHO

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8Nexus World

Kashii/1'-:~rtt?-'7-J~f'l!i'!ll:

MARK MACK/MACK Architects

Mark Mack Block <-7·?·:;7t!l! <·:;7·7'-c!f'T?'/

The Mark Mack B!lilding stands at the intersection of the east-west commercial street and the northsouth residential street. In consideration of this situation, it consists of a large and a small wing attuned to the commercial-residential duality of the surroundings. The two are connected at their corner sections. The L-plan, low building facing the residential street is finished in red stucco and is therefore called the Red Building. Facing a tile-paved public plaza, it houses shops on the first level and flats on the upper levels. Conceived on the familiar townhouse scale, it has no elevators. Wooden window sashes provide a note of warmth. The nature of a corner site dominates the plaza, with its small hill fitted with sprinkler equipment. The larger Slab Building stands on the commercial street. Its bright yellow walls and aluminum spandrels contrast sharply with the appearance of the red building. The Slab Building houses shops on the first story and 2-story apartment on the upper levels. There is a court-house rooftop terrace. The semipublic inner garden on the artificially created land platform behind the buildings is allotted among the residents. Nonstandardized interiors varied to suit residents' life styles offer diverse spatial compositions. Mark Mack had a hand in designing everything from furnishings to built-in cupboards. Variations in composition, materials, and scale individualize each apartment. Amenities have been diversified to suit the needs of the inhabitants.

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ioc.Hion: .Hchnects: M.uk client: Fukuok1 Jisho structural engineers: Kusaba Structu:-a! Engineers general Ando Corpor.ltion s1te area:

building area: 1,551m2 total floor are.~; structure: reinforced concrete; 6 stories floor .uea ratio: 14931% building 5 L32% number 28 date of completion: March, 199!

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OSAMU ISHIYAMA Laboratory, Waseda Univ.

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A red building by Mark Mack is on the south of this site. On the north are Portzamparc's golden Tempietto and black Mountain buildings. A major point in the of this building was determining the kind of relations it should have with these and with the many other colors and forms of Nexus World. To ensure good natural lighting, the project has been conceived of as a group of 3 buildings-the Banana Building, the Pineapple Building, and the Coconut Palm Tower-dispersed over the site, which is long in the north-south axis. The Banana Buildings stands atop an artificially created hill. In keeping with its name, it has as an arc-shaped plan partly surrounding an inner garden space. The lowrise Pineapple Building and Coconut Palm Tower too stand on the of this garden. !den-

tically formed roofs topping 3 buildings with different forms create a gently ordered skyline. Twisting and leaning, the buildings establish an overall forestlike relation. New industrialized building materials have been minimized, and natural materials like clay tiles and persimmon-stained wood have been employed to the maximum extent. The rejects the approaches apparent in both standardized public housing projects and superficially splendid private apartment buildings in Japan today. Of the 6 architects participating in Nexus World project, Jshiyama is the only Japanese. Perhaps for this very reason, his interiors manifest a Japanese mood without lapsing into either orienta!ism or the Japaneseque.

location: Fukuoka, Fukuoka Prefecture architects: Osamu lshiyama client: Fukuob Jisho structural engineers: Moritani Structure Consultant general contractors: Ando Corporation site area: 3,298m 2 building "ea: I ,351m 2 total tloor area: 5,55'1m' structure: steel frame and reinforced concrete; 8 stories floor area ratio: 148.200/o building coverage: 40.98% number of housing: 40 date of completion: March, 1991

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This housing settlement consists of 4 buildings (2 Frame buildings, 1 Mountain building, and 1 Tempietto building) and exterior spaces divided by waterways. The 2 white Frame buildings are aligned along a road. They have rectangular plans and face each other across a courtyard. The first-floor zone constitutes a kind of partition separating the street from the site, thus converting the isolated interiors of the Frames into something like theatrical stages. Because its black concrete walls are randomly studded with crushed granite tiles, the massive Mountain building serves as a truly mountainous-looking background. This novel way of dealing with external walls arose from 2 considerations: the concept of a dark archaeological, organic mass and the idea of allowing the windows to project beyond the walls.

The Tempietto building is a small, gold-colored, metallic tower standing in the garden. Though alone, it is not self contained but plays a part on the stages created by the Frame buildings. Its basic image is one of floating suspension. Consequently, approaches to the apartments are 3 levels above the ground. In the 3-story maisonettes, en trance halls are on the second, living and dining rooms on the third, and bedrooms and baths on the fourth story. Windows in 4 direction make these very open dwelling spaces. On the fifth story, where there is a /a/ami-floored guest room, a covered-bridge corridor connects with the Mountain building. The circular metallic gold-roofed pavilion on the roof commands a 360-degree view of Nexus World. Interiors are thought of as organic and harmoni· ous related to exteriors. Each is individualized on

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the basis of the building in which it is housed, its relations with other buildings and the surroundings, lighting, and views. Gardens and courtyards in these 4 buildings are important to the whole Portzamparc proposal. Similar in mood to a traditional French plaza, the courtyard is decorated with geometric patterns in white, wash-exposed gravel. Private from the stand· point of nonresidents, this zone is public for the residents. Japanese gardening principles and perspective govern the design of the garden isolated by a canal.

A FRAME BUILDING B MOUNTAIN BUILDii':G C !EMPIETIO BuiLDING 1 LIVING ROOM 2 DINING ROOM 3 KITCHEN 4 BEDROOM 5 JAPANESE·STYLE ROOM 6 ROOF •EARACE 7 BALCONY 8 SUNROOM

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(pp. 140-141) View from the road on tbe east. The 11~0 white Frame Buildings are in the foreground, tbe dark Moumain Building is at cmter right, aJid tbe gold Tempiello Building is in the central backgrOJwd. (left) Exterior detail if I!Je Frame Building. (facing page) Exterior detail oftlu Mountain Building. Exuriar waD: black concrete studded with crushed granite tiles. (pp. 144-145) Tempiello Building and Frame Building seen from the north.

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location: Fukuob, Fukuoka Prefecture architects: Christian de Portzarnparc client: Fukuoka Jisho structural engineers: Kusaba Structural Engineers general contractors: Fujita Corporation site area: 3,627rn 2 building area: l,l47nl total floor area: 5,968m1 structure: steel frame and reinforced concrete; 10 stories floor area ratio: 148.46% building coverage: 3!.62% number of housing: 37 date of completion: March, 1991

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CD Nexus World Kashii/:j'.:Jif:J-'7-JL+~!lf

OSCAR TUSOLI ETS / Tusquets, Diaz &Associates

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Located at the northern extremity of the plan site, the Oscar Tusquets building faces a park on the south. Because of these site conditions, the 2 wings of the building are arranged symmetrically along a street with an entrance arch constituting a passage to the park. In the plans of the other architects, block topology, with buildings aligned parallel to the street, tended to drop from consideration as time passed. Oscar Tusquets however, adhered to it to the end. Owing to the similarity he sees between the climates of Spain and Fukuoka, he employed styles found in traditional Barcelona group dwellings.

Consequently, a number of features give the exteriors a decidedly Spanish quality: red brick tiles with white joints, Spanish roofmg tiles, cornice ornaments, window shelves for flowers, stained-glass windows in the 3-story spaces at staircase landings, and so on. Out of respect for privacy, no dwellings are positioned on the first story, which is taken up with stores and parking spaces. This too is in keeping with Spanish tradition. Although most of them are flats, the 35 apartments include 2 maisonettes and 5 apartments with roof terraces. The floor plan of each is symmetrically laid out and, in contrast to the Spanish exte-

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riors, follows familiar, established Japanese arrangements. Respect for craftsmanship is evident in the interior decoration. Meticulous finishing reflects the particular concern of Tusquets, who has tried his hand at industrial design. He proposed designs for furniture, carpets, and lighting ftxtures and even designed such small items as name plates, interphones, and mailboxes. Through emphasis on materials and techniques and a warmth and savor of a kind that is now on the vdge of oblivion, Tusquets' architecture suggests new possibilities for urban housing developments.

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location: Fukuoka, Fukuoka Prefecture architects: Oscar Tusquets client: Fukuoka Jisho structural engineers: Kusaba Structural Engineers general contractors: Hazama Corporation site area: 3,487m 2 building area: !,676m2 total floor area: 5,776m 2 structure: reinforced concrete; 5 stories floor area ratio: 148.11°/o building coverage: 48.08% number of housing: 35 date of completion: March, 1991

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F'UKUOKA, PHENOMENOLOGICAL

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HA: Although the front elevation of the Fukuoka Housing Project has a strong 6gure which reminds us somehow of"Karl Marx Hof," Vienna, I want to conftrm that this building is not a building which has a formalistic composition as its main theme. Indeed I can't ignore the fact that Formalism has fundamentally led architectural design especially after Modernism lost its original power. The facade was the consequence of considering intermediate spaces, particularly the "void space." As it was noted in the description, the "void space" could respond to many new, practical and spatial functions for urban housing, such as a "spatial and visual buffer between inside of the units and street," "sharing the public space as an extension of unit space;' or "giving to each unit many different directions and long length of exposure;' and so on. However, these practical functions are one side of the "void space!' The other side is the spatial quality itself in relation with the "phenomenological space" which is your main conceptual context. I want to start with questions about "water" which is one of the most important elements of this "void space." Tracing your former works, I can fmd not a few projects characterized by

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water, such as follows. Sokolov Retreat 1976 (6g.l) Gymnasium-Bridge 1977 (6g.2) Pool House 1981 (ftg.3) Van Zandt House 1983 Milan Project 1986 (ftg.4,5) Edge of a City-Manhattan 1990 (ftg.6) Palazzo del Cinema 1991 (ftg.7) Texas Residence 1991 (6g.8,9) It seems that water is a very important material for your space. Do you have some specifte image or memory about water? What is the role of water in your realized spaces and in your imaginary spaces? SH: "Water" plays a central role in many of our projects, and this is quite intentionaL Growing up on the edge ofPuget Sound, a huge inland body of water in Washington State, I have always been moved by how reflections in water magnify all the natural phenomenon. The changing color of the sky, the movement of clouds, the wind or absence of wind in a rolling mirror surface are all amplified by the body of water. At night I remember sitting for hours by

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fmlight watching the huge yellow moon rise above the bay in the autumn. The zipping pinging sound of rain on water gives the calm expanse scale in the nodal lines of each rain drop. The "Sokolov Retreat" being a project under water was not my ftrst project which amplified a connection between water and architecture. In 1975 when I worked for the Landscape Architect Lawrence Halplin, I designed a huge public fountain in the form of a s~bmerged building with water rushing into the rooms (built in Flint Michigan, 1975). (fig.10) In the "Gymnasium-Bridge" project the program connects to the different states of Liquid, Solid (freezing hard for the ice skating area) and Gas (boiling to steam in the steam rooms). As our bodies are over 90%water and water covers 3/4 of the earth, I don't feel I'm doing something unique in intertwining architectural space and water. Water remains important in its reflective ability to touch the mind and spirit. HA: "Light" also seems very important for your space·s in relation with water as well as itself. Examples can be found in such projects as; Berkowitz House 1984 (fJg.l1,12)

Pace Showroom 1986 (fig.13) Edge of a City- Phoenix 1988 (ftg.14) I would like to ask the same questions about "sun light." SH: "Light" and the movement of the sun in the time of a day are, for me, a central concern for architecture. From the scale of a room to a city, the quality of light is quite different according to locale. For example, the long twilight hours in the northern places like Seattle offer a long caesura between the time of day and night for recflective transformative thoughts. In a phenomenological basis for new architecture, light is a central aspect in the understanding and experience of space. HA: Both water and light are the elements of nature which affect the space or building, changing its image, giving it a natural movement. On the other hand, you have several works which were inspired by literature or verbal fantasies and images, such as; Autonomous Artisans' House 1980-84 (fJg.15) (fJg.16) Bridge of Houses 1981 Berkowitz House 1984 (ftg.l7 ,18) Hybrid Building 1981-88

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What is the position of these verbal texts in your design? What is the relationship with water or light, if it has one? SH: Words are important in articulating a clear concept unique to a site and circumstance. As each project is a new beginning, I do not initially begin with texts, but in some circumstances they clarify and densify the direction of the design. In crystallizing the aim, the text is an invisible thread connecting the architecture in a whole which is greater than any ,of the individual parts. HA: I also want to mention the important role of diagrammatic thought in your design method. In the Fukuoka Housing Project, we designed its section with two different considerations' combination. One can be seen along the long section of this building. This is the "continuity" or "repetition," which appears as different sequences when one walks through the building from east to west or west to east. The other can be found in the short section. That is "differentiation" or "relationship" among spaces. Two voids make a set of "void spaces." One is an open court, using water to create a sense of calmness on the second floor. The other is a covered court, using a gravel surface, supporting activity on the ground level. Two

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(Golden Section) which sometimes makes your designs look similar to the images by Mondorian or the designs of Gerrit Rietveld. From the point of view which considers non-formalistic design, both diagrammatic thought and the rule of Architectural Proportion must have an interesting role in your design, since these methods can able be used for formalistic design by their direct relationship to forms. What are the roles or the strategies of these concepts in your design? SH: I do not begin with "general strategies" in design and in fact hope to start a new language of elements with each project. The simple forms allow the phenomenal aspects of light, reflection and spatial overlap in movement to occur as primary expenences. HA: Like one of Adolf Loos' trials (Raum plan), we designed the setting of units in a very complicated way, which is like a Kumiko Zaiku; wooden toy composed with small pieces combined in complicated ways to figure a simple shape in total). This complexity made it possible for the units to be independent of each other, as well as offered varied spaces and vistas within each unit. In terms of the relationship between the whole and parts,

the image which consists of a simple box with a complicated and mysterious inside is very interesting. In your projects, I am very interested in the combination of the complexity and simplicity. Now, what is your emotion that makes this competition of complexity and simplicity? SH: My desire for an outward simplicity in architecture is perhaps a reactionary stance to today's architecture of Historicist pastiche, and chaotic assemblage. An urban aspiration in a simple, space-forming architecture may have intense and interesting interior dimensions. This material and detail intensity occurs in the spaces that the user inhabits rather than as elements on an exterior facade. HA: We had two main concepts in Fukuoka Housing. One is "void space" which we talked about already. The other is "Hinged Space" which is a transformable space using "Hinged Panels." Usually planning tends to give order to the space. On the contrary, "Hinged Space" is aiming to eliminate the space which is assigned one stable order. I can fm~ non-formalistic design again. What do you think about this point? SH: I am excited by the "participating walls" of the hinged space concept. Today we see many floor plans full of angles with

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the argument for an architectue reflecting the "dynamic flux of our time." Yet, these are static angular walls ftxed by the architect-a frozen chaos imposed on the user. With "hinged space" the hundreds of angles in the plan are in the hands of the inhabitant to manipulate. This hinged space, for me, is more unstable, more in a state of flux than chaotic ftxed plans. HA: In the Fukuoka Housing Project, we tried to design the Hinged Panels as a material in between walls ;nd doors. You also tried the Hinged Panels in several former interior works. These Hinged Panels were, I think, inbetween doors and cabinets. Therefore, wall, door and cabinet can be melted into a Hinged Space System theoretically. The idea of Hinged Space is attacking the conventional categories of wall, door and furniture. This idea also has an interrelationship with the idea of "Architectural Proportion" in terms of its sense of scale. One single system covers both tiny and large scales. Now this can be also ambivalent. Hinged Panels can transform the space in many ways, on the other hand, the same idea occupies the space from the larger scale to the details. What do you think about this ambivalence? SH: This "connecting of differet scales" with a concept is what

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YASLIM ITSU MATSUNAGA/SKM Architects & Planners

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When we were commissioned to design this project, the client-a developer-defined two primary objectives: to provide an ideal dormitory environment for his own company's staff, and to create a design which could serve as a model for this building type, now in high demand among companies in Japan as a very viable means of attracting the everdecreasing young labor force. For our design team this kind of project was a continuation of our previous studies in the fteld of collective housing. Generally speaking, the common perception of collective housing has had strongly negative connotations in Japan in comparison with individual dwellings because of the over -exaggerated merits of privacy and exclusive ownership of land. However, soaring increases in land prices have forced more and more people to live collectively, and we have been involved in a number of housing projects in search of the more positive merits of living together. The site is located in a mixed-use area in Kawasaki nicknamed the "Japanese Silicon Valley". The only requirement prescribed by the client was that the facility must house approximately 50 unmarried employees. Within the tight envelope stipulated by strict zoning regulations, efforts to provide rooms with maximum exterior exposure resulted in a hollow oval building form with a lofty atrium space at the center. This atrium space connects all internal corridors and symbolizes the integration of the residents living on different floors. Each of the private rooms has its own shower room, walk-in closet and bakony. In addition there is a communal dining hall, lounge, sauna, jet-bath, swimming pool, exercise room, game room, automated parking system and other amenities which appeal to the life-style image of modern young Japanese. Within this environment the residents here could imagine themselves staying in a resort hotel; in this land of sky-high property values, to live in collective housing may be the only realistic way for young people to experience and enjoy this kind of leisure living. (Yasumitsu Matsunaga)

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VV.MOORE and l\lloore Ruble Yudell A.rc 1Nects & Plarmers(Oesrgn I\IIITSUI Construction Co., Ltd. (Working

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The aim of this development is to provide 290 families with an elegant way of living while making the best use of the splendid natural setting on 35,000m1 of land in Kobe. The realization of the aim was entrusted to the well-known American architect and a landscaping designer, Charles W. Moore of Moore Ruble Yudell, Architects and Planners (MRY). The site is on the shore of the Sumiyoshi River. Behind it rises the Rokko Mountains, and before it stretches the Seto Inland Sea. The topography is richly varied and graced by a stream of spring water. After visiting the site in April, 1988, Charles Moore proposed the following planning concepts. (1) From the Mountain to the Sea. (2) Water as a Unifying Element. (3) Informal Path and Formal Path: Nature and the City. (4) A Rich Diversity of Spaces and Places. (5) A Clear Expression of the Site Topography. (6) Landmark Q.Ialities. (7) A Richness of Landscape Experiences. (8) A Richness and Diversity of Housing. (9) Unity and Diversity. The subsequently evolved master plan calls for 7 apartment buildings surrounding 7 gardens that are positioned along the two intersecting axes: an informal (natural) axis and a formal (urban) axis. MRY was commissioned to produce the master plan, designs for the facade and lobby interiors, and landscaping. While this work was being done,Japanese teams developed building and apartment plans and interior designs. Beautiful silhouettes (suggestive of mountain ranges) of apartment buildings, a calming 3-story composition, and abundantly varied sashes characterize the architectural elevations. A subtle color scheme too plays an important role. The design suits diverse needs by ensuring variation in plan and views for each apartment unit. One of MRY's major task was harmonizing and integrating architecture and landscape- houses and gardens. Some of the devices used to achieve the desire and include central location of the high-rise structures, placement of low-rise structures and spires adjacent to streets and gardens, provision of corridors and terraces on the first levels of buildings adjoining garden spaces, and construction of pavilions serving as landscape accents.

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location: Kobe, Hyogo Prefecture architects: Charles W. Moore and Moore Ruble Yudell Architects & Planners (design architects) + Mitsui Construction Co., Ltd. (working design of phase 1) clients: Mitsui Real Estate Development Co., Ltd.; Haseko Corporation; Kawasaki Heavy Industries Ltd.; and Mitsui & Co., Ltd. structural engineers: Mitsui Construction Co., Ltd. general contractors: Mitsui Construction Co., Ltd.; Haseko Corporation; and Mitsui Harbour arid Urban CorlStruction Co., Ltd. site area: 35,586m 2 building area: 2,393m 2 (Phase 1) total floor area: 14,508m2 (Phase I) structure: steel frame and reinforced concrete; I basement, 9 stories (Phase I) date of completion: March, 1991 (Phase 1) Soutb elevation.

West elevation; scale: l/800.

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(above) First floor entrance hall. The main mtrance is in the left background. (facing page, above) Two vic1us ofi ntuiors in a typical housing unit. Photos: courUsy of Mits11i Construction Co., Ltd. (facing page, below) View lowardslhe main entrancefrom/he entrance ball. U.:l 1 Hi"-" f 7 ;.- ~"'-1>. (d·iu:lil:iFffii:Y:II!Ji>'IJ 6. 08HU:J ltt"l'l1 ;.- f ~ 7 2 1:<. 1JJW1!!\: :C:Jf!t:1 087rCfl ~;,- ~ 7;,- :u:•-,v! 1 ltElaif:l~IJi!I~Ji'~6.

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Hillside Terrace Complex, Phase 6 f"I:I!:w*iifi'€~tiWl'il6ltll llX*£ii~t@i~J':BpJi

Nearly 25 years have gone by since initial planning on the first phase of the Hillside Terrace project. The completion of the present sixth phase in 1992 will mark the passing of a full quarter of a century. The following is a brief breakdown of the history of the project. Phase I Hillside apartments and shops; completed in October, 1969; Maki and Associates Phase 2 Hillside Terrace, apartments and shops; completed in May, 1973; Maki and Associates Phase 3 Hillside Terrace, apartments and shops; completed in December, 1977; Maki and Associates The Danish Embassy; completed in October, 1979; Maki and Associates Phase 4 Hillside Terrace Annex, buildings A and B; offices and apartments; completed in December, 1985; Studio Architectural Planning Phase 5 Hillside Plaza; completed in June, 1987; Maki and Associates Phase 6 Hillside Terrace, apartments and shops; scheduled for completion in 1992; Maki and Associates Unlike its predecessors, all of which are on the north side, the site of the phase-6 plan is on the south side of the street. In addition, in April, 1990, the neighborhood in which the buildings are

188

JA 1991-4 HOUSING

located was redesignated exclusively as a class-2 residential area. Whereas building heights in class-! residential districts are limited to about !Om, increased floor-area indexes in class-2 residential districts plus increased commercial-use areas resulted in the lifting of the 10-m restriction. Stipulations about facade recession from the site line in upper levels, however, remain in force. The phase-6 buildings intended to follow the phase 1 to 3 buildings in scale and style. For example, phase-6 buildings along the road maintain the 10-m limit, and the buildings of one or two stories are piled up and receding from the facade line. In terms of style, phases 2 and 3 employed ex pressions compatible with their times while remaining within the general Modernist framework. Phase 6 pursues the optimum nature of Modernism, a topic in which we are currently interested. In line with basic planning policies used in earlier phases of the project, public spaces and shops, which are naturally varied in nature, are located in the basement and on the first-floor and mezzanine levels, with offices and apartments on the levels above, A more constructural approach has been adopted to the assembly of the surface layers than was true in phases 1 through 3. For instance, the I0-m sky line (the same as those of the buildings on the north side of the street} is expressed as sharp eaves, which serve as the axis for the development of all other

compositional elements. In order to avoid the flatness of the southern facade, framed sunrooms are installed in every corners (like those in the fmt phase of the Iwasaki Museum of Art). Perforated aluminum sheeting on the front of the building, admits natural illumination while preserving privacy, (which recollects the membrane at TEPIA). The pervading color image is contrast between white and the light aluminum color of the sheeting. Surfaces protected by the overhang of the pent roofs are painted. Those lacking such protection are faced with white corona-shaped tiles (5m to a side) like the ones employed in the Fujisawa Campus of Keio University and the Tokyo Municipal Gymnasium. As the foregoing discussion has indicated, phase 6 at Daikanyarna represents a distinctive, individual personality, though it is based on an accumulation of experience with the compositional principles and materials employed in preceding projects. To preserve the sense of scale found in the other Hillside facilities, three independent buildings are connected by means of a plaza. This plaza is directly in line with a private road between the Royal Danish embassy and phase-3 buildings on the opposite side of the road. This location opens a new and vista at right angles to the road along which the remaining Hillside buildings are aligned. (Fumihiko Maki)

JA 19914 HOUSING

189

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Royai Danish Embas!;J.

Second floor.

First floor; scale: 11600.

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loc.lliOI;; \'1/.ml, Tokvo .:rchitetts: & Associ.H~~ client: As<1kur.1 Real Comp.1:1y structural engineers: Aoki and Associates general Corporoltion site area: Mea: 2,263n/ ., area;

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RIKEN YAMAMOTO & Field Shop

Ryokuen-toshi Development Inter-Junction City. ~rnlilillm i.l.Ptl!~~HI~

Site; scale: 112,000.

Ryokuen-toshi is the name of a private-railway station about 15 minutes from the center of Yokohama. This plan encompasses a commercial and residential district in the vicinity of the station. Much of the area is vacant lots because of intractable conflicts of interest arising from mixed ownership involving both the railway line and local holders. In the past, the local owners have rejected all of numerous development proposals. Without exception, these proposals have imposed restrictions on individual buildings in the name of overall district uniformity. For instance, some suggested setting all buildings 2 meters back from the road. Others insisted on enforcing an all-white color scheme or making cable roofs obligatory. The reaction of local landowners has been, "It's my land, and I don't care about uniformity. If the railway lines want uniformity, they'll have to pay us subsidies:' Subordinating individual buildings to an overall plan based on a general urban idea leads to fundamental confrontation. Because I realize this, my own proposal puts no restrictions on individual

196

JA 1991-4 HOUSING

buildings in the name of uniformity of appearance. My method is the reverse of ordinary city-planning methods. The individual building takes precedence over the city. In other words, the individual building is the city; the ultimate form of the city is inherent in the single building. Believing this, I have established no strict overall conception. Because the conflicting interests of various local landowners are knotty, I allow each owner to build to suit his own circumstances. That is the nature of my plan. I have, however, established one simple rule: build any kind of building you like, but each building and site must be connected with the neighboring building and site by means of an access passage. In other words, each building must send out a feeler to its neighbor. The builder of the next building must establish contact with that feeler and then send out a feeler of his own to the adjacent site. In this way, a labyrinth-like pe'destrian deck can generate urban organization. Each time a building goes up, a passageway is

completed to alter the city. It is, therefore, impossible to say what the ultimate urban form will be like. Basically, commercial facilities are on the first 2 stories and residences on stories 3, 4, and 5. A passage way through the commercial facilities on the frrst and second stories is open to everyone 24 hours a day. Traversing all the buildings, it connects small .plazas and sometimes becomes a bridge over open space. Restaurants are to be situated along this plaza. A glass-roofed common space will serve the apartments on the upper 3 stories. In contrast to the open passageway, this space is for residents only. Elevators stop at the common space, to which all apartments have access. Architectural designs are not uniform. Sites are different. Owner conditions and costs too differ. Naturally each building has an individuality of its own. Nonetheless, I should like materials to be uniform if possible. (Riken Yamamoto)

198

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)A 1991-4 HOUSING

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(p. (p,

(p. f/Jdm<1 (pp. 201, 202, 203) Site 097Y(J ~[{l!lt:·.; }l.f:f1~in, /J'J1tt: 11 l1H{. ~ 0·fiiiit:fft!.l4\h'tA~J I>, lil1!~r::: 7. 8 Uff1:~. T·iiii:{i 1: 3, 2 Ui[~;'),.~t,;~.

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!oc,Hion: Yoknh,lm,l, I\.,u1,1~,n·:,1 Prefecture ,\rchitcw: RIKEN Yr\iv!A~IOTO & Field Shop client: Sag.uni R.tilw.1y Co., Ltcl. (SITE 2) structural engineers: Jm,Ii Consulting Structurdl Engineer general contractors: Sotetsu Construction Co., Ltd. site area: 1,011n/ , building area: 806m 1 , .. total floor area: 2,670m· structure: reinforced concrete (p.ntly molded concreteblock be,1ring wall) and steel ti·ame; 5 stories and 1 basement floor .uc.1 ratio: 22c!A 0/o building covcr.1gc: 79.80/o number of housing: l6 projected completion d.lle: r\pril, 1992 (SITE 7) structur,II engineers: lm,ti Structur.1l Consulting Engineer gener.1! contractors: Nishinl.ltsu Construction Co., Ltd. and Sotetsu Construction Co., Ltd. site .uea: 844m 1 building area: 670m 2 , tot.tl floor area: 2,5l8mstructure: reinforced concrete (partly molded concreteblock bearing wall) and steel frame; 6 stories floor area ratio: 261.0% building coverage: 79.4% number of housing: 9 projected completion date: November, 1992 (SITE ll) structural engineers: Kozoh Keikaku Plus One gener.tl contractors: Sotetsu Construction Co., Ltd. site area: 3,c!43m 2 building area: unfixed total floor area: unftxed structure: reinforced concrete (partly molded concreteblock bearing wall) and steel f'r.une; 4 to 6 floors (unfixed) floor area ratio: unftxed building coverage: untixed number of housing: unftxed projected completion date: October, 1992

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Correction: The "Shinjuku Simulated City" in the Vol. 3 issue of JA (pp. 50-57) was the program presented to the students of the Ito Studio in the Columbia University.

Copyright ©1991 Shinkenchiku·sha All rights reserved. No part of this publication may be reproduced, in any form or any means: electronic, mechanical, photocopying, or otherwise, without permission in writing from the publisher.

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The Japan Arcl1itect During the thirty-five years that have passed since its founding, in 1956, the Japan Architect has published four hundred regular issues. Now, owing to the striking changes that occurred in international conditions in recent years, we feel the time bas come to revise the nature and format of the journal completely.

Each issue of the new JA features special topics planned and edited in a distinctive fashion Special editions of new JA offer select cov:erage of top~level Japanese architecture and related topics. In especially planned and edited features, each issue concentrates on one of the following categories: monograph focusing on one particular architect; yearbook-style introduction of outstanding works; theme-centered coverage of new trends in architecture and city plannin,;; and detailed examinations of controversial and delibrated projects.

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THE JAPAN ARCHITECT CO., LTD. 2-31-2, Yushima, Bunkyo-ku, Tokyo 113 Japan

The 3rd YOKOHAMA URBAN

DESIGN INTERNATIONAL COMPETITION ~Theme

''Harmonizing the City Center and Port'' -Town planning for the Port of Yokohama's birthplace, the ZO NO HANA district ("Elephant's Trunk") The ZO NO HANA district and it's surrounding areas

Sponsored: The City of Yokohama/Yokohama Urban Design Forum Executive Committee

Supported by: ./

Architectural Institute of Jajmn I City Planning Institute of Japan/The Japan Foundation

In Cooperation with: Shinkcnchiku-sha Co., Ltd. ~Purpose

Urban space in modern cities is being examined in the face of changes in lifestyle, environmental problems and socio-economic changes. The Yokohama Urban Design International Competition, an annual "idea competition" focusing on urban spaces in Yokohama, provides a forum for presenting urban design proposals and considering how cities should be developed henceforth. In developing an attractive city, it is necessary for many people to participate and for outstanding designs to be utilized. Results of this competition will be announced during the Yokohama Urban Design Forum in March 1992, and winning designs will be used as reference material in future town planning in Yokohama.

Background The City of Yokohama has developed together with its port, which opened more than 130 years ago in 1859. Today, Yokohama is a thriving metropolis of 3.2 million people which continues to maintain a close relationship between the port and the city. This competition concentrates on the ZO NO HANA ("Elephant's Trunk") district, where construction first began on the Port of Yokohama. The name ZO NO HANA has its origin in the fact that the shape of breakwater looked like an elephant's trunk, Although the present breakwater was constructed at a later date, it is located in the same place, and serves as a historical structure which gives an idea of the port at the time of its opening. The ZO NO HANA district is located alongside Shinko Pier, which has played a central role in the port functions of Yokohama, and Osanbashi Pier, a passenger ship terminal for ocean-going liners. Both of these districts continue to play an important role in Yokohama's port functions. However, as changes take place in the socio-economic realm and to the port's own circumstances, it has become necessary to develop a new port which accommodates commercial, business, cultural and entertainment functions, To this end, various redevelopment projects

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for the redevelopment of the ZO NO HANA district. Additionally, propose a facilities plan for the district. In your urban design plan, please express the ZO NO HANA district's relation to surrounding areas, and express pedestrian networks, policies for land usc and the overall cityscape. With regard to the facilities plan, current regulations on land use and floor-area ratios are included in this leat1et for reference, but need not be adhered to. Please propose plans for necessary facilities in the district, and express as clearly as possible their scale, function (s) and design. To this end, please usc as many visual aids as possible including plans, photographs of models and perspective drawings.

arc scheduled to take place. The ZO NO HANA district is scheduled to be redeveloped together with Shinko Pier as part of the Minato Mirai 21 plan. In the vicinity of the ZO NO HANA district arc unique, historical city areas such as the area around Yamashita Park, Nippon Odori Avenue district and Kaigan Dori Avenue district, which live up to the image of Yokohama. Additionally, the ZO NO HANA district is located alongside Minato Mirai 21, a new developing city center of Yokohama. Being positioned l;etwccn these old and new areas. the ZO NO HANA district occupies an important location for linking the areas together and strengthening the city center. Historical structures such as the Red Brick Warehouse and the Yokohama Customs House arc also located in this area. enabling urban redevelopment to take place making the most of Yokohama's historical features. Furthermore, the inner port area surrounding the ZO NO HANA district is both humanistic and rich in variety, providing much scope for the development of an appealing waterfront area.

Chief Judge: Fumihiko Maki (Architect) Judges: Bernard Tschumi (Architect) Kei Minohara (Urban Planner) Ryoko Ueyama (Landscape Architect) Shi Yu Chen (Architectural Producer) Coordinator: Shozo Baba (Architectural Critic)

Competition Contents

AWARDS

This competition seeks proposals to harmonize Yokohama's city center and port, focusing on the ZO NO HANA district. Please prepare an urban design plan

First Prize (I) ¥2,000,000 Second Prize (2) each ¥500,000 Honorable Mention (10) each ¥100,000 * All awards arc before tax.

JUDGES

ENTRY DETAILS Please follow the guidelines set forth in the application and present your designs for the site from an urban design viewpoint. Contents, expressive methods and scales are left to the contestant's discretion.

MATERIALS Confine total contents to two sheets (600 x 840 rom) of thick drawing paper. QUESTIONS No questions will be answered. Matters not covered in the specifications listed above are left to the contestant's discretion. DEADLINE Registration Deadline: Monday, 13 January 1992 (Accepted if postmarked this date) Design Entry Deadlille: Monday, 27 January 1992 (Domestic entries accepted if postmarked this date; Overseas entries must arrive by this date.

Hand-delivered entries must be submitted to the secretariat by noon on this date.)

REGISTRATION (l) Domestic Applicants Applicants from within Japan must register in advance. Please register by sending a postal card bearing your name, address, telephone number and place of employment (name of school) to the competition secretariat. In return, you will be sent a registration form and reference materials. (2) Overseas Applicants Overseas applicants need not register. However, if you apply to the competition secretariat with your name, address, telephone and facsimile numbers and place of employment (name of school), reference materials will be sent to you. HOW TO ENTER Write your name, address, place of employment (name of school) and telephone, facsimile and telex numbers on the back of your submission, and mail it to the competition secretariat by the specified deadline.

• We deeply apalooize for providing incorrect information on the Area of the Site.(JA magazi~, 199H) Please note the corrected information on this page,(Area of the Site • left aoove)

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Minato Mirai 21 Region Minato Mirai 21 is an ambitious waterfronl development project in the heart of Yokohama. II is surrounded by the Kannai lsezakicho district, which has developed as a cily center since the opening of the port. and the Yokohama Slation area. which has seen rapid development since the end of World War 11. The aim of Minato Mirai 21 is to intergrate these two districts with international business, cu_lture. and other commercial activities thereby invigorating the tieart of downtown Yokohama, In addition, related port facllrtres.wrll be strengthened, resulting in a new city center that is surrounded by water and greenery. Area-186ha; projected work1ng population-190,000; projected residents population-10,000; Project commencement-1983; Scheduled completion-2,000.

ADDRESS ENTRIES TO Department of the 3rd Yokohama Urban Design International Competition, Voice or Design Incorporated Horizon-1 Bldg. 3-30-16 Nishi Waseda Shinjuku-ku Tokyo, Japan 169 Phone: 81-3-5273-0149 Fax: 81-3-5273-0374

COMPETITION RESULTS The winners will be notified by mail and the results of the competition will appear in the April1992 issue of "Shinkenchiku" and the 2nd quarterly issue of "JA", to be published on 15 April 1992. Winning designs will be announced and displayed at the Yokohama Urban Design Forum during March 16-19, 1992. OTHER ~Design

entries must be original. copyright belongs to the designer, but the competition sponsors reserve the right to make announcements of winning entries. · ~Submissions cannot be returned, so we suggest you make a copy in advance. ~All entries must be written in either Japanese or English. ~Design

YOKOHAMA URBAN DESIGN FORUM

Urban Design Office, Urban Planning Bureau The City of Yokohama 1-1 Minato-cho, Naka-ku, Yokohama 231 Japan