INTRODUCTION

Kaijima The majority of our work consists of individual houses, so I

ca nnot avoid th inking about both their social positioning and their
architectural positioning. I then become concerned with how to
relate architecture to the appearance of the "individual " in postwar
Japan . The Case Study Houses, which we re aimed at mass
production in the United States, may have had a relationship with
the house designs of architects such as Kiyoshi Seike and Kiyoshi
lkebe, but the nuance of mass production vanished during their
entry into Japan, making it seem that they had been conceived
much nearer to the individual. Tsukamata Aithough it may seem
completely obvious , the inescapable attribute of residential
architecture is that it is made for individuals. As was pointed out
during our recent d iscussion with the members of Archigram ,
historically, it was the nation , society, and commu nity that provided
the basis of support for the work of architects, but from t he 1960s
onwards, the basis that tied peop le to place became weakened due
to the explosive expansion in the range of movement for people and
objects, as well as the spread of information networks to cover the
ent ire globe, so at that po int in time it first beca me poss ible for the
individua l to be the basis for architect ure (from the symposiu m at
Ferr ite Memoria l Hall of the Centennia l Hall , Tokyo Instit ute of
Technology , Jan 2005.) They had recognized that , in the realm of
the ind ividual house, this was implemented qu ickest in the United

once asked, "why is it t hat a public building cannot be designed

more like a villa or a private house? " Also, accord ing to Kazuyo
Sejima, when design ing the 21st Century Museum of Contemporary
Art in Kanazawa, the museum curators were highly disce rnin g
clients, and there was an excellent exchange of opinions between
the architects and curators. Therefore, even though the 21s t
Century Museum of Contemporary Art in Kanazawa is a public
building, for the curators and artworks it feels like a huge house.
Perh aps there is an aspect shared with the intended treatment of
the indivi dual in society, and I th ink it is manifest as a qual ity of
space. The concept ion of making a public building based on t he
indiv i d ual should be i nt erest i ng even when seen from an
international perspective . This is also the issue in "M ICR O PUB LI C
SPACE (c ha pter 8)," but pub lic space is dul l wit hout the heat
em itted by individ uals. During the 2002 World Cup co-sponsored
by Japan and South Korea, a huge number of people gathered on
the street in front of the Seoul City Hall , right? After the rally, the
government decided to maintain the area as a park, yet unlike the
original event, this was not something spontaneously generated. A
commemorative park that was given by the governmen t has a
different meaning from a public space that emerged from with in. In
other words, the differences in the type of relationships between
architecture and the individual give rise to various qualities of

States and Japan . In their home country of Brita in, there was no
work for architects in the design of individual houses. Although t hey
made a great variety of drawings, t heir comprehension of t his issue

space. In the case of a house, a particularly interesting aspect is

the way a characteristic texture appears in a space through being
occupied by a person . However, it is due to this that in Europe

was to the effect, " when the individual becomes the basis of
architecture, what happens to the relationship between architectu re

there is a strong belief that an ind iv id ual house is not social.

What do you mea n by " not soci al "? A house persistently

and time? " In Japan , the work of actually implementing individual

houses was more overwhelming than such concept ua l tasks .

belongs to an individual . Therefore, they consider that an architect

cannot declare an individual house to be a social thing. However,
the Ja panese situation is greatly different. As chronicled 800 years
ago in Kama no Chou mei's book Houjouki (The Ten Foot Square
Hut), the space needed by an individual originates with t he concept

Ind ividual houses were sufficient for a ful l career in Japan, so even
after Toyo Ito and Riken Yamamoto had begun to do publ ic work,
they somehow showed a consistent attit ude of givi ng consideration
to individual bodies in pub lic buildings. Lacking the foundation of
an abstract commun ity or society , much less a nation, it was a
scal ing-up of the ind ividua l that had been cultivated in detached
houses to became the basis for making public build ings. I think t his
aspect is also manifest in the accumu l at ion of re si dential

of a hermit's "retrea t ," and has always been a declarat io n of

indivi dual wisdom. Actual ly, such wisdom is also social. Th e
worldview displayed by a "retreat" was unthinkable in Europe. I
thi nk t hat even now, t he image of a " retreat " survives as t he space
aroun d the body. Books on "m icro-a rchitecture " sel l we ll , and

arch itecture in Japan . That reminds me, during a lecture Toyo Ito

une xpec t ed ly, one of t he Bow- Wo w's urban re se ar ches Pet

Momoyo Kaijima

Yosh i haru Tsukamoto

chite cture was widely accepted. Th i s is not restricted to

:;ch ttecture. I think that due to a reappraisal of re lationships with
he body there has been an expansion of the basis for making
: hin gs i n a flow that has shifted from nation, society, and
commu nity to the individua l. Our concern is not with the biological
bo dy. b ut with the body al l i ed with certain cultural and
conventional dimensions through its behavior in daily life. Although
such a body is your own possession, it is actually shared with other
peop le, so is it such a troublesome body? In other words,
although it is not described as social , it is at the very least a body
tn an arc hitectural envi ronment of residential and urban spaces ,
and so tl is cultural and habitual, right? In the 1991 retrospective
exhtbt tton of Shusaku Arakawa and Madeline Gins at the National
Muse um of Modern Art, that relationship was erased and
recon structed by urging us to , " always assemble the sensat ions
That was extremely
wtth n yourself 1 That is arch itecture!! "
tnflue nt ial. We do not take such a destructive approach , but
unavoidab ly it gives a clue to taming the environment, and so we try
to transpose it. This can be done because the repetition of everyday
behavior is actual ly supported by the physical environment of urban
space, arch itecture, and furniture . If furniture, architecture, and the
city are made so as to provide an identical environment, everyone
will behave simi larly. Al though it may differ slightly each day, when
exami ned from a great distance it would seem like a theatre that
constan tly repeats almost the same repertoire . Due to the 20th
centu ry mass media, however, architecture has become content ,
and moved steadily closer to visua l art . The International Style in
partic ula r pioneered this trend . The dominance of visual art is
based on its aura due to the singularity of a given painting or
sculpture. However, as I mentioned previously, I th ink the real
connect ion between arch itecture and peop le is related to the
Implementation and repetition of behavior. If this point of view is
taken, architecture is instead closer to the performance-based
artworks of theater and music. Although a musician will perform the
same tune many times by following the score, sl ightly different
re ndi tions will occur due to the performer's art i stry and
Inter pretation of the score. A play can also be produced with
differe nt interpretations of the same script, and the actors may
express their creativity and individua lity in each performance. What

we are asking is whether or not repeated performances can produce

vital ity. This is true in a house as wel l as in urban research, and
even when implementing the MICRO PUBLIC SPACE (chapterS) of
an art exhibition . We always then begin from an observat ion of
th ings and phenomena ex isting in rea lity, because we want to know
what is recurring there . If a phenomenon is caused by such
repetition , it is interesting to produce a phenomenon that is slightly
di fferent from usual by intervening in the method of repetition . The
Ani House (p .26), as wel l as questioning the issue of BU ILT FORM
(chapter 2) , used an observation of the urban phenomena of gaps
as its basis, whereas in Furnicycle (p.180) and the Atami Recycle
Project (p .200), observations of the behavior of people in the streets
and the shapes of crowds became the bas is. Although I only
discovered it later, this is similar to the transduction method of
Henri Lefebvre . In other words, the inductive method is gu ided by
the compos ition of principles and condi t ions that give rise to a
number of phenomena , and the deductive method is to insert the
princ iples so obta ined into new conditions, alter the composition of
conditions, and produce a d i st i nct phenomenon . If this
phenomenon is then observed again, and within it a hitherto
unknown explanatory variable discovered , it is extracted and a
phenomenon based on this is once aga in manufactured ... this is
repeated through ongoing mutual feedback between the inductive
method and the deductive method . Th i s process cannot
be accomplished in a single project , but is implemented across
various projects . That is why our house designs are gradually
changing. Discovered with in the relation to GAP SPACE (chapter
10), the relation to SMA LLN ESS (chapter 4) , the relation to
CONVENTIONAL ELEM ENTS (c hapter 6) , I think that our research
and projects on phenomena that can only occur in architecture are
transductive. Perhaps the most enjoyable part is giving physical
forms to our perceptions of architecture, urban space , and daily
life. This book is organized into chapters by taking twelve issues
from our percept ions of urban and architectural concerns. Although
these things are constantly revolving around us, it seems that in the
aftermath of the man ia of the bubble economy , various specters
with in the system have gradually become visible.

Dialogue on DEPTH
Ka ijima ln the room arrangements of ready-bui lt houses, there are
laces that can be described as having OKU (depth). On the other
p d whe n look ing at traditional private houses in Japan , the
han ,
tatam1 rooms described as OKU actually face onto the engawa
(veran 1a Al though they may be OKU if traced on the circulation
route. f looked at from their connection with the garden, they are
open rather than deep. Because the plans of ready-built houses
result rom no more than functional ordering, I suspect that the
OKU 1 ac hieved inadvertently . Tsukamoto Looked at as a
phenomen on, there is OKU as a representation of wealth, and
conversely there is OKU as an appearance of poverty. The former is
fou nd 1n t he architecture of things l ike tradit io nal Japanese
resta uran ts; class divisions become represen ted in architectural
des1gn, which gives me an unpleasant feeling. What I have begun
to nnt1ce IS that there are two grades of OKU : there is OKU as a
c~ar ter of place that results from the spatial organ ization , and
OKU IS layered mean ings that satisfy various social contexts. The
former is a phenomenon caused by topologica l relationships of
spaces (parallel , layered , nested) and connective relationships of
room due to circulation routes and apertures , and the latter is
pro)e t1on of the social hierarchy of 0-0KU (the ladies' territory in
fe1 1al castle). Our entry in the 1992 Shinkenchiku Residential
Des1 n Competition , entitled House without " Oku " Depth , was an
a11aly 1s an d critica l reconstruction of the formative mechanism of
OKU as a character of place . With Fumihiko Maki as the judge, we
prop1 ,ed th at OKU has van ished as a property of present-day urban
house First of all , the phenomenon of OKU as a characteristic of
place was co mprehended as the supe rimpos ition of mult i ple
explanatory var iables , such as the topological relationsh ips and
conne !ions of rooms, as well as apertures making connections with
()UtSide . Rearranging these relationsh ips brough t about a state
lackmg any definitive OK U. So sha llow / deep and interior / exterior ,
as ch 1racteri st ics of place, became relative, undergoing various
nve 1on s depend i ng on your i ocation . The number of
explanatory variables used to distinguish between " inside and
outside" and " part and whole " gradually increases based on social
transform ations, thereby becom ing increasingly complex, but even
so, I feel that there is an opportunity to disman t le OKU by
quest ioning whether on ly arch itectura l space can provide the
ongoing production of constant ly stable re lationships between
"1ns1 de and outside" and between " part and whole." Because this
IS fixed in the form of spatial composition rhetoric, with a presentday urban house it first seems necessary to relativize this rhetoric. I
studied spat ial composit io n rhetoric as a theory of arch itectural
composition, in other words, a system of differences based on the
operati on of architectural mean ing, under Professor Kazunari
Sakamoto . Taking the semiotics developed by Roland Barthes as a
basis, ana lyses of various cultural expressions were applied to the

Momoyo Ka iji ma

Yoshi haru Tsukamoto

compositional theor ies of arch itecture . By perce iving the wide

variety of compositional elements in architecture as "articu lation "
(paradigme), and the relationsh ips between those elements as
"integration " (syntagme), superfic i al d iff erences may be
transcended, and various buildings co mpared , giving identica l
elemen ts but different relationsh ips, or different elements but
identical relationships. Although initially the room was fixed as the
unit of art icu lation, I gradua lly came to doubt these units of
"articulation, " thereby enabling direct contact with the fu ll range of
architectural mean i ngs . Even with i n the same system of
art ic ulation, it is possible to make differences by changing the
sorting and ordering of the elements, yet this does not involve a
radical change to the system . In short, without changing the cards
in your hand, their order may be altered . The so-called nLDK
system can also be described as a system of " articulation. "
There is also the rhetoric analys is involving a search for the
relationsh i ps with spatia l character istics possessed by the
aforementioned behavior of capit al , and just like OKU , I think that
this perception of the character of place as a synthesis of multiple
exp lanatory variab les clearly demonstrates the approach of Atelier
Bow-wow. As with Made in Tokyo and Pet Architecture, it becomes a
method of seeing society through the d ifferences expressed in
buildings . What then be co mes important is tha t spatial
characteristics themselves, such as OKU , logically show only the
differences before us, not social "meani ng." That is because
otherwise we cannot distingu ish between spatial characteristics and
" meaning." The role of compositional theory is to take a certain
distance , by slightly zoom ing back from the world of everyday
" mean ing. " Furthermore, this is experimental th inking about the
kind of spaces and places that may combine cap ital , political , and
socia l relationsh ips. Th is is an attempt at assessing whether there
may be anyth ing arbitrary in such comb inations. A combination is
temporarily peeled away, and society is critiqued through its spatial
logic. In The Critique of Everyday Life, Henri Lefebvre describes,
combining unjustly excluded th ings, and separating vaguely
confused things, and I think this has a contemporary significance
for arch itectural design. As in the way OKU can be found all over
the place, right? In spatial critiques it is important to pay attention
to those obvious things that are as ubiquitous as the air we breathe.
We assimilate the symbolism of a subject in our criticism of
loca lized idiosyncrasies, and then the critical act itself becomes
symbolic . In questioning the purpose of spatial critique, we lose our
susp ic ion of things that are too obvious, so we must once again
return to reconsider ways of estab l ishment and pr inc iples of
formation , attempting flexible rearrangements to suit temporary
conditions. Th is is an attempt to recover the productivity of space
which "context " originally possessed .

House wi t hout " Oku " (Depth )

1994

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2: D1v1sion of "back" and " front " according to circulat ion

3: Con nection to outside by openings
4 = Con nection to lifeline
DK U, a concealed area in the house, has been preserved in the Japanese
traditional houses by an overla p of these characteristics. For example, an
inner space is back in circula tion and not connected to the outside .
However nowadays definition has been cha nged due to the changing
meaning of the characteristics; addition of communication infrastructure.

As such, under the new definition , a house without the concealed area is

s, 1/300

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considered possible. A space can be " in" and "front" and connected, or
" out" and " back" and not connected . The House without "Oku" {Depth) is
an attempt to present th is possibility using two nested cu bes connected
by tubes. In addition , the space between two cubes was identified to be a
space not belonging to either outside of the house nor inside of the inner
cube and was named "nobody's room. "

Articulator's House

<Piil
Courtyard

1993

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Bath

Bed Room

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11

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the Huge Window on Outer She ll

e Reflect JOn of Color onto the Inner Shell Seen from

"bright, wi th no hospital
The client, a doctor, wanted a clinic that would be
of the hospita l
antness
unpleas
the
change
to
sought
sm ell. " He
narrow internal
in
waits
long
and
experience, with its antisept ic smell
in recent years seen an
has
area
ing
surround
the
,
addition
In
.
corridors
particularly targeted. In
Increase in petty crime, with the clinic being
floor" was specified .
first
the
on
windows
no
"
for
ent
requirem
a
,
response
and we decided to
,
clinic
the
in
needed
About 20 different rooms were
The idea was for a
develop the simplest possible spatial arrangement.
rooms is sheathed in an
nested box, in which a layered battery of small
all around . This gap
outer she ll , with the intervening gap circulat ing
the cellular rooms to
of
that
and
floor
second
the
enabled the position of

able to be opened. One

be independent , with outward facing windows
While these windows
shell.
outer
the
in
face
each
into
opened
is
window
ial areas, the
resident
in
usual
the
with
are over-sca led in compar ison
have been kept small,
windows in the surface s of t he inner she l l
between these two
responding to the needs of these rooms. The space
the spaces where
layers is given over to waiting and treatment rooms,
inside surface of
the
of
faces
the
of
Each
time.
patients spend the most
ile the parallel surfaces
the outer shell are painted with a different color, wh
up the reflected wash of
of the inner shell are left wh ite, subtly picking
circulation path, which
these colors. This gap affords an encompassing
19
direction .
changes
it
time
every
e
spectacl
reveals a new color

A~~ . tiJlJSl 1lf/:::<'JO)lf0)Ji~1JlliJI<IJ i.Mvl.'l 1-Q

Wa1t1ng Room. Yellow Color of Right Wall Reflects on the Whi te Wall on the Lett

:tr::Ji!ij""f
left: Corridor
{'j :ffl ~~
right: Wa itmg Room

~-~

Treatment Room

__

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<1>9'/:i!lll:

South Facing Position

Center Position

!!

e on BUILT FORM

in way that the

there arose our interest
detached house . From
to
how
me
beca
e to latch onto.
e
plac
s any
House, the them
e residentia l districts lack
In the desi gn of the An i
we were scenery of thes
that
nged centrally
is
arra
this
is
for
it
h
on
oug
reas
alth
. One
i House,
a s1ngle space on the site
Continuing with the Min
e
hous
a
of
volume of
es
main
spac
from the
ne the
might be poss ible to defi
se, sub -volumes projecting
11g 1f it
nd the
ventional like the An i Hou
arou
con
in
gaps
as
al
s
sion
room
men
the
e-di
all
g
te thre
partition ing and arrangin
building were used to crea
the
sity
with
den
es
the
spac
d
rnal
foun
and exte
is that we
r to reconcile the internal
plann ing. Another reason
d to
ing . building, in orde
late
stifl
be
unre
to
not
is
site
e
the
renc
ds
site . Th is diffe
that surroun
environment around the
the res 1den tial dist rict
se site are more
quality of densely the
Hou
ing
i
Min
stifl
the
this
of
that
s
re
ding
We became awa
that the surroun
ence is
residence . the fact
House . Next in this sequ
to the site layout of each
buil t than around the Ani
resident ia l districts is due
sely
den
site
to
h
l in the House
approac
shel
r
dard
inne
stan
the
the
from
l
se,
shel
hou
r
th e case of a detached
the unfastening of the oute
interior.
h and put a garden in the
outer shell toward the
t the building to the nort
"Oku " (Depth) , drawing the
out
with
1s to shif
a
In
en.
"Oku" (Depth)
gard
out
this
with
rd
se
towa
Hou
ng
the
in
faci
ll
s
way , the she
h, then make big opening
the
ed to Phrased in another
ry. The relationship with
r-related areas will be push
ivalent to the site bounda
equ
arranged like that, the wate
mes
beco
.
back
t of the
men
t and a
nge
fron
a
arra
have
the
by
also
d
es
late
spac
ding buil ding s is regu
north, and so the internal
automatically surr oun
further developed in the
arrangement on the site
the sub -volumes. This is
of
ls
wal
ical
a man ner of speaking , the
vert
. This
ces
spa
rior
arrangement, and the
inte
tral
the
cen
a
to
to
t~p
m1 nes eve ryth ing righ
House; here also we adhered
Gae
it.
of
rid
get
to
handled by cushioning them
ve , and so we wanted
surrounding houses are
"rn"m "' on feels restricti
site gaps with the
its
the case of
from
tion
ara
sep
deep . By doing this , in
mai nta ins a
eaves that are 1 to 2m
Beca use th e An i House
s of the site may
in every face of with
e
edge
r
mad
oute
be
ld
the
to
cou
s
ed
ning
push
, ope
ecting walls, the gaps
bou ndaries of 2.5 to 3m
s in these
ty of the space proj
In addition , by putting glas
g this , the dire ctio nali
ght in under the eaves.
brou
be
th e box volume . By doin
The

e.
g from below
ulat
circ
ndin
to
asce
in
t
beg
ligh
y
,
antl
ows
inst
wind
t can
s and making horizontal
van ishes, and air and ligh
the interior
l planning was eave
es of the ceiling, flooding
convent ional architectura
cts on the metal su rfac
refle
al most total absence of
cts
effe
m
effect. A
imu
ting
max
ligh
g
erin
cted
end
xpe
eng
une
of
an
ieving
a notion
also due to imp lementi ng
with indirect light and ach
ted
Faustino ,
wan
er
we
s,
Didi
t
word
itec
uguese arch
l operations. In other
ours , the Paris-based Port
with mm1 mum architectura
ration " is
le th rough friend of
nste
who
"Mo
the
n."
ing
ratio
rmin
nste
dete
y
as "mo
of instantl
described the Gae Hou se
to dev1se a luci d method
thought it might has
visible their distinctive
way of making places. We
everyday things to make
of
ent
rgem
enla
one s1m ple principle and
the
life is
ily
da
n
whe
sters lurking with in
rge
mon
eme
the
invoke
tions wi ll first
es, producing shapes that
be good if so-ca lled func
throughout the valu
differently. Perhaps
an,
Jap
seen
In
be

.
also
ized
will
t
real
men
so
overla1 d on t he places
reality. The same environ
at,
defe
time
ve in them , they
war
belie
the
to
t
you star
growth that followed
ghouls and goblins, once
period of high economic
aps e, many just like
monsteration ."
coll
t
"deis
uen
this
seq
of
sub
its
osite
y and
The opp
t hen th e bub ble econom
seem to be everywhere .
I
and
,
ture
the Gae House
itec
rd,
arch
rega
sters. In this
buil t as works of
words, to block the mon
detached houses have been
same time , In other
ture without
itec
the
at
Arch
Yet
like
e.
ks
valu
Boo

ural
e cult
monster .
has been called a cute
acknowle dge their collectiv
stic
neri
in groups.
Man
ear
y
app
s
fairl
such monster
itionally they occupy a
are interesting because
systemat ically and compos
small, but
reality of Architects
be
the
all
from
may
ted
now
to
isola
t
up
produced
that they exis
The houses that we have
realm, and in this I feel
of
we want
nce
gs,
abse
l
thin
"
tota
and miserable
i Hou se, there is an almost
being negative "narrow
life. Therefore , in the An
, such rather than
resi dential
ture
new
itec
t
arch
itan
of
com
work
con
a
with
expected from
birth to small monsters
the thi ngs that would be
trast, relative to give
ough points is in BUI LT
spaces, directionality, con
k that one of ou r breakthr
thin
I
ns.
ditio
con
as a hierarchy of internal
to
how
of
stion
que
the
is, we addressed
.
stren gths... Instead of th
about the BUILT FORM
other words, by thinking
in
e;
scap
town
the
in
build
of
kind
this
oses
encl
in the context that
FORM, conversely, we drew

Momoyo Kai Ji ma

Yosh i haru Tsukamoto

In the case of SITE, we do not limit our thinking to the

in plan, but also refer to aspects such as the slope of the
and the quality of the view, or whether it happens to
garden of a neighboring house. Tsukamoto Even in the
of shape, the differences between figures such as triangles

its position in the town becomes important. Actually, for

architecture on a corner lot, urban sensitivity is also addressed
within the architecture, and so through this alone it becomes an
architectural issue. Basically, whether the corner is perceived as a
place where two surfaces are assembled , or perceived as a singular
point, there are reasons to be concerned with its interpretation . In

extending from a place . As every site has a point of

with the street, different characters are embedded within a
site according to their relationsh ip with the road : places that
from the street are deep, places near the street are in
By also taking such characters into account, perhaps we are
of a gradual expansion of the concept of SITE. Our interest
regard to SITE has two dimensions. The first is to do with why
small lots and strange shapes sites emerge in the city of
which then becomes a premise for architectural activity. This
also connected with econom ics and sociology, as an interest in
social climate that surrounds a site and the history of a site.
second is how to treat the physica l " shape" of a site, which is
mterest in the specificity that comes from within the site. To
it another way, a SITE comprises its "career" and its "shape."

the loco House , the entry point is on the corner, and the surface of
the volume is folded and torn . A barbershop entrance was made by
putting in glazing at the corner, turning it into a storefront. The
courtyard of the loco House is vi sible from an aperture on the
corner of the volume , but this is interesting. It causes a courtyard
that might tend to be closed to become very open . This is a result
of plac i ng a courthouse on a small corner site . I f the site
characteristics and the architectural form can become organically
interrelated in this way , the lifestyle will not be restricted and
choked by the site conditions. I think that drawing out maximum
synergy from the site characteristics and the architectural form is
linked to obtaining a degree of freedom of lifestyle, not only a
degree of freedom in the design . Depending on the way the
"shape" of the SITE is parsed and used, there are cases where it
wil l be invigorated , and cases where wi ll not be .

BU ILT FORM is also ultimate ly thought of as an integration of

two. An extreme version of site "shape" is the flag site. Flag
were selected for the House & Atelier Bow-Wow (p.276) and
and sale of a larger estate, and is a form of site
ilf11nonltati,nn often found in Tokyo. They are called flag sites

they are wide to the rear but have a narrow access road,
must be at least 2m wide to allow building on the site .
by other buildings that make construction work
I they are inexpensive, but if this is also regarded as a
it can perhaps be eva luated affirmatively. Although

near a corner, it seems to take on an urban sense . In

villages , I have never encountered scenes of houses
built on corner lots. Bui ldings will be located on corner
a result of increased building density, so intersections seem
be the places where city and architecture achieve the most
I union. However small the building, if it stands on a corner,

Exactly. In practice, the "site shape" is never traced just as it is.

Doing that would give it a somewhat rigid expression . It should not
turn into an opponent, but become an ally. This has been vividly
achieved in the Kus House. The aperture layout for this site was
determined by comprehending the trapezoidal site as a triangle that
has had a corner sliced off by the street, enclosed by three houses.
By making this irregular characteristic of a "cut-off corner" into a
repetition of the other corners, the rules of the house are converted .
By thus mimicking the irregular part of the site in the architecture,
irregularity is made into regularity, which I th ink is an interesting
method . What about in the case of a sloping site? I n the case
of a slope, the continuous change in height is a condition not found
in other sites . With regard to this, the floor of the architecture must
be horizontal. The perception of the gap between them becomes an
important key. In the usual methods of corresponding to a slope,
there is a type that projects the building out like a pier, and a type
that adjusts the building to the contours, but in the lzu House
(p . l02), the two volumes are patched with an oblique volume that
runs down the slope , connecting the spaces with a single stroke .

lllriID I :5mall sites are easily influenced

by their surrounding
so it is useless to think about a building
only within

infectious, so it is also necessary to have

a skilful way of making a
distan ce from the outside. The resulti
ng lack of a front or back
means that all four sides can be regarded
as the front fa<;ade, which
this is one of the charms of making small houses
. Moreover, I is clarified as a "BUIL T
FORM. " Although not inner city buildings,
Kawanishi Camping Cottage B (p .l48) and
House Asama (p.l24 ) are
be expressed by saying, "there is no other
place where also like this. As extens
ions of the human body, they were made
is spaced as closely as inside the houses of
Tokyo." This is with an image of archite
cture acting in concert with objects and
topic in COMBINED ORIENTATION (chapt
er 7) , but in the human behavior. Then
returning to downtown Tokyo, we design
ed
DaS House with a stair placed in the center
that begins to articulate
of objects and the orientation of people .
For instance, the single-space interior
into smaller spaces. We noticed that even
that the distances between items of furnitu
re in Japanese in equally small rooms,
the
sense of width and the relationship to
houses are about one third of those used
by Mies van der the outside are consid
erably differe nt depending on whether
naturally a different spatial quality will arise.
they
If you then are shallow or deep with
regard to the windows. For instance, even
inside the house for things that possess
an orient ation, though a 1.5m-square
window will feel small in a room that is
there are people. They necessarily have a front
10m
and a back, a deep, in a shallo w
room
with a depth of about 2m it will feel
a bottom . Next, there is the furnitu re made
to fit these suffic iently large and
close to the exteri or. The Gak House
The "orientation" of furniture, in its standa
rd dimensions or epitomizes the meani
ng
of
small rooms, right? The sequential
front and back, is something guided by observ
ing people, but as traversing of small
rooms in the Ga k House was an image
is then implemented in things , conversely
from the
it regulates the client . " Like the Versai
lles Palace, " he said (laugh s), which I found
and orientation of people inside the house
. Adding the amusing. He also acutel
y commented , " I hate single-space houses
produced by windows to these orientations
,
of people because all kinds of things
can be seen in an instant. " Accordingly,
we tried connecting all the small rooms
so as to contain the various
with various orientations. Therefore, if these
orientations presumed objects, but
they would not fit on the site. Then at some
/fully regulated, the space becomes inconv
enient and point we shrun k each
room to a depth of 1.65m , and finally
IDinfortable. You cannot relax on the sofa
while looking at the everything fit.
Entry hall ---+ library ---+ wh ite-water related
of the dining table. Betwe en the
faciliti es
exteri or conte xt, ---+ closet ---+ wife's
study and make -up corner ---+ window openin
the surrounding environment, and the interio
g to
r context, big terrac e next to garden
---+ bedro om. In additi on , stairs ---+
the inside of the house, t think that a cogniz
ance of husband's study ---> terrace that
is the biggest place in the house. It
I expansion innate to the SMALLNESS house
germinated is as open as possible to
the farmyard opposite. The other side of
the Mini House (p.32) . Rather than living in
the buildin g if it the terrace is connected
with the television room ---+ music room
---+
child bedroom . In addition, if you climb
to the meuan ine, there is
a sense of living within that town scape ,
and so tried to the wife's study ---+ dining
room ---+ kitchen ---+ utility room. Although
there are twelve rooms, each one feels
like a cockpit. Because
of the room. By installing each window in
a furniture-like there are also very
few doors, despit e being partiti oned
i with the room, various surrounding eleme
it is
nts have been perceived as one big space.
This dualism is interesting. Wasteful
with the furniture . In other words, by makin
g oppositional parts are trimmed from
the objects and items of furniture placed
between interior and exterior elements
in
that straddle each small room, so when
looked at from the relationships with the
profile of the buildi ng , the overfl owing
orient ations are furnitu re there are
very few accidental events, bu s each
takes the
and at the same time , the outside contex
t and the inside role of a circulation route,
when looked at from the connections due
Kaijim a Precise ly because to the windo
ws , the accide ntal aspects increase.
" Doors are
unnec essary , " or "a bathtu b is not
yet neces sary," or "ai rplaces . Where to insert the window, which
orientation to condit ioning is unnecessary
" ... (laughter). There are cases where
the furniture items , how to combi ne
them; space s are certain things usually
present are absent because of SMALLNESS.
as units of place. This does not require separa
te rooms . Despite being small, for people
who want their own house, they can
are called environmental units, or niches.
Looked at in this often clearly imagine
those things that are truly necessary for
the attributes of front or back in a given place
their
will also come own lifestyle, and we are
able to learn a lot from them.
be perceived fluidly. The Japanese urban
environment is very

,~]

on CONVENTIONAL ELEMENT
interest in conventional elements was triggered by
cammiss;ionl!d to us due to an introduction from one of the big
companies . Because it was an introduct ion, the
not feel as though they had commissioned us from the
In this case, it seemed like ly that we would be rejected if we

impression of a building by just making some minor changes

in the
sizes of very obvious elements. Windows at the same location
may
be slight ly enlarged and redu ced . Through these difference
s in
proportion , it is easy for the meaning to rapidly appear - perhaps

because they are conventional elements . The layout changes

even if the total surface area of the windows does not change
much.
our thinking with the obvious shape for a house - a Through
concentrati on and selection in the manner of laying out the
I form, that is, with windows and a roof. However, whi le windows,
difference s in meaning wi ll appear. I think that these
our starting point, the window and roof treatments were a subtle
differenc es can be comprehended precise ly because we
know the conventi onal size s, proportio ns, and layouts
of
and surroundi ng environm ent. The reason I like conventio
nal elements . Besides windows , what ki nd of elements
is that a heterogeneous variety of spaces ca n be made
can be used? Boundary surfaces that people may touch.
The
asingle room: places that are bright or dark, places that are terrace balustrad
es of the lzu House (p . l02) are far wider than
far from the exterior . Furthermore, "window spots" are also usual,
becoming like long, slender counters. Glasses of beer or wine
Even after Modernism , " window spots" still have a place
can be placed on them . Various relat ionships are consolida
ted at
architecture of Frank Lloyd Wright, Louis Kahn, Luis these
interface parts . In thi s sense, foundations are also interesting
, Erik Gunnar Asplund , and the early Mies van der Rohe . as
an interface between ground surface and building. Partic ularly
furniture, suffused with light, breaking down the room on sloping
ground , a building foundation is strongly expressive as
smaller sca le; these are places wit h de nse meanings that an
interfa ce. In the Kawani shi Cam pi ng Cottage B(p.l48), the
the behavior of the human body . This kind of foundation
was hidden as much as possible, whereas in Log Saiko ,
grammar was excluded from the grammar of Modern the periphery
of the foundation was enclosed with louvers, making
such as "un iversal space " or Le Corbusie r's "f ive an
outdoor space with a jacuzzi bath . Tatami mats and amado
of architectu re ." I wonder why. Kaijima Perhaps shutters
are also interestin g. Although this is probably not the
as ne ither inside nor outside, the dense meaning of a case
with peop le in the generation older than us, there students
spot " is not expressible in drawings. Expressible in today
who have never experien ced living on tatami mats or
. Windows and doors are everyday elements, but have
opening amado shutters. As a result , they are unaware of
the
usages. In drawings, they are expressed merely as lines. correct
behavior in a tatami room , or when to close and open
when entering or leaving across this boundary between amado
shutters in response to changes in time and changes in
and outside, that is to say , when the body straddles the climate.
Behavior and experience are generated around such
demarcation , there are characte ristic actions and elements.
This could also be rephrased to say that a conve ntiona l
. In Modernis t architec t ure, openness I closure was element
becomes a particu lar unit of behavior or experienc e
as a property of space , but the question of how to arou
nd arch itectu re. Pe rhaps t his is simi lar to the claims made
in
openness I closure, like opening or shutting a door, was not A
Pattern Language by Christoph er Alexande r . The landscape
addressed . Certain ly, a place like a "window spot " has
should change according to whether or not such behaviors
and
aspects as a boundary . Differences in the t hickness of experie
nces can be shared by socie ty. Our own internaliz ed
will significa ntly influence behavior . This inc l udes behaviora
l norms are c ultura l ly and social ly - t hat is to say ,
anal " aspects , of course, so perhaps that is why historica
lly - composed , yet paradoxically they control the future of
rejected it as a basis for design. Does "conventional " t his
scenery, and become the core of the daily basic Clrogram that
repetition in daily life? I t is repeti t ion in daily life, and also
will inf l uence t he future of the landscap e. The breaking
of
repetition in architectura l design . For insta nce, the fa~ade landscape
also imp lies the loss of meaning of repetitive behavior
and distribution of window sizes in Suida-bashi Third Building
that occurs in a given place . Although we like new things,
we
intended to produce something t hat felt like an intermediate
also like old things. What we are saying here could
be
between a warehouse (windowless) and an office bui lding comprehe
nded in terms of the durability of society, but there is also
glazed) . This is because I judged it interesting to be ab le to
meaning to be found precisely in the making of new things among
-~mtnrl a building ' s purpose accordin g to
the size and old th ings. Society will become upset if we
make only new things.
of the windows , and t heir layout on the bui lding fa~ades. Taking
the viewpoint of revitaliz ing old things, I think that we will
invariably find hints for the making of new things.
Besides the windows, I am interested in changing the

Momoyo Kaijima
Tsukamoto
12.1

11111111Drientotinn is inheren t in things. The

orienta tion of the adjace nt places. The
shop policy seems to be based on wantin g
you
body is projected onto the shapes of chairs. It is the
same to co ncentr ate on eating ramen
, but the co mpl ete l ack of
bicycles, too. On the streets of Shanghai , you
often see people anticip ation in this space
fee ls weird. Neverthe less, we can see how
eating meals, drinkin g tea, and playing mah-jo
ng, but I the spaces have been made
indepe ndent by limitin g the field of
interesting that this ca uses everyone to bring
out furnitu re.
view with a minima l device. Althoug h not
directl y influen ced by
contribution to the "Sha nghai Bienna le
2003" was the this, we used curtain
s to make a view-li mitatio n-type museu
m,
(p.l80) , which combines back-to-back the
orienta tions of called the Pet Architecture
Museum (p. l 90) , at the "Venice Biennale
and a bicycle. By combin ing an indepe ndent
ly runnin g 2003. " The issue is whethe
r , in the exper ienti al dimens ion ,
with a rear-facing living setup , usage change
s according to space can be arti culated
withou t strong wa l ls by adjust ing and
while keeping the same shape. We are aware
that the combin ing the orienta tions of people
and things. This has become
of a thing implies a purpose, and that furnitu
re connotes somet hing we pay attent ion
to in our work on inst all ati ons,
norms, so we wante d to try produ cing
anoth er exhibit ion designs , and interi ors .
In Green Cultural Center (p .248), a
by just slightly shifting their relationships.
In practice, public space as a continu ous park
was all that was requested , so we
lllrform:anc.es on the streets of Shanghai compri
se only things made a furnitu re design and
layout while thinkin g about how to
the area, yet we were deeply impressed by
the utterly engend er simulta neous re curri
ng activiti es in spaces for link in g
spectacles that arose. Even right now, the
fa ct that we people . I think that " various
people in various postures" is one
to keep on talking l ike this is due to the desks
and chairs. conditi on for a pleasant space .
Not only on the interior of the Green
were no furnitur e, we wou ld become distrac
ted by lying Cultural Center , but on the rooftop
garden as well , everyone may sit
or standing up. By fixi ng the orienta tion and
posture, people or lie around j ust as they
like . The interpersonal relationships and
concentrate and work. If you want a lecture
or workshop to go work results in places
where peop le have varied postur es are
~can also be effective to change the arrange
ment of people. differe nt from places where
everyone has identic al posture s at
the Japanese government, I think that you
could begin identic a l desks. The Ei&ht and
Hall Hair & Makeup Studio provided a
the seating arrang ement i n parliam ent
(laugh s). chance to think about this. In
the Eight and Half Ha ir & Makeup
In the " Mutations " exhibit ion, we though t
that differe nt Studio , the owner had concre
te
proposa
ls for the scale of the spaces
1 could be overlai d in the same
space by cha nging the and the distances
between customers. In the case of a beauti
cian's
heights. The contents and furnitu re items were
arranged so first shop, they usually begin
with a small place of about 10 or 20
correspon d with differe nt exhibit s at differe
nt heights and
tsubo [33 or 66m 2], yet he immed iately
started with 45 tsubo
postures, such as people sitting on 15cm-h
igh chairs with [149m ' ]. Mirrors are also usually
arranged at a 1500m m pitch , yet
to watch images on monitors set on the f loor,
people sitting here they were set at 1700m
m, produc ing a differen ce in scale . We
chairs to look at books on desks, or people
standin g to ascertained the conditi ons by
perceiv ing the time that customers
spend at the beauty salon as not just being
in the salon , but as one
that it would be good for these differe nt
postures to be scene within their urban
lifesty le . Theref ore, we had variou s
visible in the hall . For instanc e, a good
cafe will discus s ions about the seque
nce of people who arrive after
different levels of guest seating . By skillful ly
making sightlin e shopp ing, or the seque
n c e of people on a break from work.
due to differences in section , not just through
differen ces At the detaile d level, the
client was worried about the relation ship
location, there will be no anxiety about people
sitting too between shampooi ng and cutting
, because people being shampooed
to each other . That remind s me, Ascona
is a good fee l defens eless. In the fina l layout,
the feet of people being
. The open terrace cafes extend along the main
street of the shamp ooed are arra nged facing
one another, creati ng a relation ship
lakeshore , but as you go deeper inside each
cafe the floor in which adjace ncy was not
a conce rn . We wante d to make
rises, and the lake is visible even from within
. This gives the drawings showing only the
orienta tion of people . This is a place
street a stage-like atmosphere, so wa lking
is also enhanced where, every day, many people
di the same thing in a sim i lar way,
paying attention to the sightlin es . Everyone
has the feeling of so we unders tood well the
con cerns about repetit ive behavi or .
Orienta tion is embedded in the shapes of
objects used in everyday
. The antithesis is the " lc hiran" chain of ramen
noodle life, so I think their COMBINED ORIEN
TATION begins to touch on
. Their U-shaped cou nters are partitio ned into
individ ual areas the dimens ion of habit .
noren curtains , and you cannot see the cookin
g areas or the

14 7

eon FLUX MANAG EMENT

llbinnto, VIP research the city because we want
to organical ly

point to the design process may be identical ,

but the exit point is
free. However, things like scenery ordinances
may directly affect
the subject of shared handling of buildings, and
suddenly applying
this control to the exit point means that inventiv
eness cannot be
expected. Kaijim a During our first visit to
Tsumari in Niigata
Pre fecture while workin g on the Kawanishi
Camping Cottage
B(p . l48), we were su rprised by the roofs of the private
houses,
which have a un ique gabled shape to cope with
the heavy snow. As
well as this type of gab led roof , with a gentler
slope toward the
south and a sha rpened ridge to cut the snow
piling up on the
rooftop, th e town also comprises a mix of private
houses with anti snow nets attached to the edges of flat roofs
. Going to suc h a
village feels like entering a kind of interior , but
we became aware
that this is due to a shared standard in dealing
with snow. The snow
problem may be shared, yet individua l inventiv
eness can still be
seen there . Thinking about handling other tangib
le subjects like
water and snow, there are some that fa ll from
the sky such as rain
and sun, and also the wind. Bernard Rudofsky's
book Architecture
Without Architects identifies many examp les of
handling the fluxes
that exist in natural phenomena by directly
turning them into
unique shapes . Although I want to describe
" information " as a
modern flux, I myself am still at the point of
wondering how the
handling of this might be connected to architec
ture. Rather, I think
that there is much t o be done in the handlin
g of vehicle s,
particularly automobiles, and other things that
sprout forth from us
like garbage. I n our stud io at the Harvard
University Graduate
School of Design, we asked students to find
various fluxes in the
towns of Boston and Cambridge, and then handle
them so as to
propos e pub l ic spaces . Actual ly, the appear
ance of the Gae
House (p.38) was also determined by the handlin
g of automobiles.
Yes , right. When thinkin g about how to improve
the appeara nce of
a residential district , rather than determining it
by a building design
code, I think one approach is to provide rules
for the handling of
automobiles. The merit of fluxes is that they affect
rich people and
poor people equa lly. Therefore , depending on how
they are handled ,
perhap s new organ ic relation ships can be
achieve d between
neighboring buildings. For instance, if rainwater
and solar radiation
are serious ly utilized , buildin gs will be delicat
ely altered as
appropriate , and the collective townscape wi ll
also be altered . If
rain and sunl ight are free to flow arbitrarily, they
become diffused,
but a coherent shape can be achieved depend
ing on the way they
are handle d. In this way, FLUX MANAG EMENT
allows the
production of unique values through handling
the various things
that sprout from daily life.

i the relationships between architecture and urban

space or
as well as to find the " making logic" that is the
point of
between them . Although we have observed urban
spaces
research such as Made in Tokyo, there have been
very few
to directly apply in actual designs the complex
examp les
have found , and even when we do, it is a dangero
us approach .
if the composition of plural explanatory variables
in the " ugly' or "ugly-coolness" of Tokyo is taken as an
intellig ible
theory, the temporary conclusions of our on/off chart
cannot
the shape of concrete things or become princip
les for
When actually designing, I think we reexamine
the
that form the premises of Made in Tokyo, and
reso lve
as units in a package . I have long been anxious
about how to
I shapes when solving such a package. Then in
2002, while
g as a panelis t in the " Urban Drift " sympos
ium in
I encountered the phrase "flux management." As
this was a
I was not accustomed to hearing , I initially though
t " huh?"
I soon became aware of its potential. Because
flux is usually
defined as "things that flow, things that sprout, "
the particu lar
is not specified. Leaving aside questions of architec
ture and
city, this is most easily understood in terms of male
facial hair.
every adult male , their face changes according
to how they
I their sprouting beard . Although some people
shave off their
, there are people who lazily leave them untende
d. There are
forms here, but through the same action , everyon
e shares
problem of a beard and must undert ake some
kind of
Th e first person to notice that an untended
beard
it to advantage, which will then spread to other
people.
management is accompanied by a good present
ation that
a shared sensibility . Or let 's take the subject of
management
"water." Towns extending around canals are interlink
ed , but their
ings and infrastr uctures are organized with
regard to the
problem of organiz ing the handlin g of water
. While the
is shared, the solution is free , which I think is good
. In the
of a tangible subject like water , things will not
go well if its
is not respected . As we cannot just be arbitrary ,
naturally the
are also restricted. Even so, th ere is a margin
of freedom
ng to each approach. Within this kind of inventiv
eness,
somebody finds a skillfu l approach that causes
us to say , "ah,
that looks good, " it will be studied , propagated
, and gradua lly
become established as the standard format. In
this way , even
problems will give a diversity of urban spaces.
The entry

I
I

Momoyo Kaiji ma
Yosh iharu Tsukam oto
1'1'1

eon GAP SPACE

When designing buildings , even just a
single building,

" garde n to the south , " it just becom

es no differ ent from
conventional garden concepts and functio
na list theories. However,
to this relationship . One is the relationship
with the leaving aside the absolute frame
that prevents architecture from
surrounding environment; for example, there
might be a extending beyond its site,
I want to consider the potential of GAP
tree adjacent , or roads might intersect
in front of the SPACE without being
reduced to a discussion of function. Many
things like that. Th e othe r is the relatio
nship with the students are somet
imes
interested in GAP SPACE , producing plans
of the way buildin gs in the area are made
, and the that grope for a method
of utilizing them , but in most cases they
i of a building may be altered by taking
some distan ce from show bodies shroud
ed by the somewhat perverse values of
way of making that tends to recur there. Howev
GAP
er, in general, SPACE, such as narrow
ness and lack of exposure to the sun . This
the exceedingly weak buildin g typologies
is
in co ntemp orary just sentimental and
not very meaningful. From within design
I wonder if it is possible to comprehend each
,
we
building from wanted to question the
framework that produces GAP SPACE .
form . Certainly, nothin g is fixed in terms
In
of stylist ic other words, Atelier Bow-w
ow does not have a " GAP SPACE fetish "
, but if we examin e them slightly more closely
, it seems that (laughs) . Alter all
, a GAP SPACE is also a composed thing.
i are sti ll being implemented. The first
thing to point out Because it is a
compo
sed thing, we have a respo nsibili ty
each buildin g in Japan is indep enden
to
t, and adjace nt compose it. As long
as we are aware of this unconsciously execut
do not share walls . Beca use of this, GAP
ed
SPACE arises composition , it shou ld
be able to lead us to different solutions
buildings in densely built areas . This is a
. At
byproduct of the one point in Lookin
g Awry: An Introd uction to Jacques Lacan
I customs of Japan. Th e interesting point
about GAP through Popular Culture, Slavoj
Zizek states that even if a th ing has
is that although they exist, they are given
neither name nor one image when viewed
from the front , numerous conditions in
The fact that GAP SPACE will emerge in any
case should be multilayered relatio
nships can be seen if it is glanced at
as feedback in the start of the design proces
from a
s, which I think slight angle, and differe
nt things can be made from these same
conditions by rearranging the re lations
hips , whi ch is a sensation
metabolism of the existin g city . However,
this does not imply that I like. Without
the rose-tinted spectacles of functionality
i rid of the GAP SPACE . Certainly, the
and
GAP SPACE would intentionality, the
concep t of composit ion is a practical viewpo
if adjacent buildings were ab le to share
int
walls, and the that impar tially compr
ehend s how the thing itself has been
could be more effect ively used . Howev
er, that would just achieved , along with
whatever coexists. In the Moca House
a special case, and would not touch
, an
the distin ctive external stair was inserte
d in the GAP SPACE with the adjacent
of the Tokyo townscape . The question is,
starting with the building. Although this
GAP SPACE, which extends deep into the
SPACE distributed throughout the Japanese
city, how to invent block of land, was
maae into an ascending approach , the
I for new urban phenomena. Doing this
exterior
while making a wall of the adjacent buildin
g clearly participates in the composition
for a single buildin g may have a wider effect.
Of course, all of the GAP SPACE. We
also stuck posters there, but above all ,
GAP SPACE in this world canno t be
by
co ntro lled , but by being ab le to put a
body in this GAP SPACE , independent
walls
their existence in the context of a Japane
se residential from differe nt buildin gs
are grouped so as to produce a place
, for exa mple, we should be ab le to make
them the basis for focused on the GAP
SPACE . Regarding the buildin g's physic
design. Kaijimal t becomes easy to treat
al
a GAP SPACE by ordering , it can be read
as a phenomenon that shifts and overlay
ng it as a relationship between site and
s
building . In Pet the order of usage focuse
d on the body. As is pointed out in Made
for example , places are architecturalized
in
by using the Tokyo and Pet Architectu
re, such pheno mena actua lly occur
SPACE itself. Using 250cm setbacks, rather
than the normal throughout Tokyo , but
I think taking this as the basis leads to
in the Ani House (p.26) allowed us to make
a
a parking lot, and viewpoint of simply percei
ving a thing compositionally, rather than
trees in the garden. Despite the fact of
having altered what perceiving a thing throug
h its meaning.
on this site, if this is only perceived as
having achieved a

'

on OCCUPANCY
quickly. This approach gives
a beauty supported from the
inside, by
the inevitable layout of objects
and usage of spaces. This
is also
the meri t of Pet Architecture .
Although the scale is different,
I
think
that there is a similar beauty
between " making" and "usin
in my experience of Made in
g. " Furthermore , although
Tokyo such as in the way scenes
wrapped in neon are beautiful
despite
being chaotic . As for the over
corr espo nden ce with "m akin
whelming quantities of com
g " and " usin g." When
modities
on
the
she
lves
that line convenience stores,
or carpenters are directly enga
I feel this is beautiful
ged , that is, in cases where
in itsel f. It seems that
are their own clien ts, it wou
pet arch itect ure as well as
ld norm al ly be thou ght that
worthless
arch
itect
ure
arises from the " usin g " imag
g" and " usin g " are inco ngru
inati on. At the Gae
ous, but from my own
House (p.38) , there is an OCC
, there is a cons idera ble
UPANCY of the spaces by the
over lap of "ma king " and
books
kept underground, and the
and they should permeate each
light entering from the eave
other. If this office space seco
s on the
nd level. By preparing place
which we cu rrently work is seen
s directed toward OCCUPA
from the aspect of "mak ing,"
NCY
it before daily life begins, the
users will then make various
scenes of
OCCUPANCY with in the build
drawings and models from its
ing. Accepting the clien t 's
usage as a design office , it
request
has that, "rather than a wide
a unique space. In this way,
single space , I would prefer
it is clear that a "usi ng" orde
many smaller
r rooms," the Gak Hous e (p.92
been over laid on the com posi
) is composed only of small spac
tiona l orde r of " mak ing ."
es. The
width of one room is less
For instance , inside a hobb
than two tatami mats, but
y collector's room, things are
by placing
diffe
rent
thing
s
in
each
d i n perf e c t orde r . Alth ough
room , such as the book room
, the musical
ther e are diffe renc es instr
ument room , the television
on the person, I think people
room, every room has been
find beauty and comfort in into
made
a scene of OCCUPANCY.
Stro lling throu gh each one,
the
expe
rience is like walking around
in this is that the division of
a small palace . I think that
"making I using " just kind
this
of " making" is achieved by
means of a jig for the behavior
of
peop le and the accu mula tion
. We are now groping for a way
of obje cts. In a place aime
to exceed this scheme, by a
d at
mult
iple
phen
ome
na
, the composition unavoidab
of those spatial qualities that
ly remains in the
emerge only from ongoing
arch itect ure. Taking this com
into the "mak ing." We want
position as a jig, I think that
to make a vibrant architecture
it is
impo rtan t to relocate it. By
the mutu al enhanceme nt of
doing this, arch itect ure can
" mak ing " and "usi ng." One
indu
ce
conditions that trigger the beha
for this is to take scenes
vior of people and the acc umu
of OCCUPANCY , rathe r than
lation
of
obje
cts.
I
n the Juicy House, a single color
itions of spat ial char acte ristic
has been applied to
s. "Ow ners hip" may be the
rooms , occupying this place
even if t ime and the living
. The dimension of OCCUPA
body are not brought into due
NCY
to
peop
le
will appear in contrast with
has been designated as the
this . Color can also
subj ect, but I think that give
a sense of encouraging peop
will not occur unless one's own
le to occupy: " hey, it would
body is thrown in and good
be
to occupy something like this.
is allowed to pass. The repetition
" Luis Barragan also colored
of human behavior and the
room
s
pi
nk
and
yello
w,
and
of places by objects will dete
there too is a sense of occu
rmine the qualities of the place
pying a
due to the way light responds
that emerge due to th is OCC
to the colors. The light entering
UPANCY . For instance, an
from the eaves of the Gae
workshop is also beautiful. This
House is also like that , but
is not the contrived beauty actio
when the
n of the light starts to be
an objective exte rior . It is
affected by the presence of
generated by work that requ
this
ires bui lding , the light beha
the tools for easy use , and alwa
ves like a living thing , so it feels
ys being able to find things
like you are
occupying the space together
with it.

Momoyo Kaij i ma
Yoshiharu Tsuk amot o