Comparison of In-between Concepts by Aldo Van Eyck and Kisho Kurokawa

-Through Theories of 'Twin Phenomena' and 'Symbiosis'-

Maryam Farhady*1 and Jeehyun Nam2

1
Ph.D. Candidate, Department of Architecture, University of Tokyo, Japan
2
Ph.D. Candidate, Department of Urban Engineering, University of Tokyo, Japan

Abstract
One of the solutions which emerged in response to the limitations of modernism was the issue of 'in-
between'. Concepts relating to the in-between have been suggested and argued simultaneously in the West
and the Far East. This paper aims to compare the in-between concepts discussed by two representative
theorists of each region: Van Eyck and Kurokawa. Dimensions of the in-between, factors for practicing the
in-between, and types of the relationship between two elements which are the subject of integration, are
clarified, and comparison of their works is done using the above criteria.

Keywords: in-between; Aldo Van Eyck; Kisho Kurokawa; twin phenomena; symbiosis

1. Introduction between according to the types of relationship between

1.1 Background two elements which are the subject of integration, is
Despite the positive effects of Modernism in the distinguished and named the 'set of two elements'.
development of architecture, its limitations, such According to these 'sets of two elements', the practices
as a lack of spatial and functional integration, are of the architects are reviewed, and in each set, the ideas
inevitable. In response to such problems, at the end of which they used for the application of the in-between
the modernism period, various movements established are clarified as 'factors'. The two architects' practices
and various ideas were suggested. Among such ideas are compared using these 'factors' (Table 1– horizontal
were concepts about the importance of in-between direction). Content of the four 'dimensions' of in-
space. Among them, concepts belonging to Van Eyck between is also discussed using these 'factors' (Table 1
of Team 10 in the West, and Kurokawa of Metabolism – vertical direction).
Group in the Far East are quite significant and 1.2 Existing Literature
influential. Due to the importance of in-between in spatial
This study aims to compare the in-between concepts, formation, there have been various definitions and
which simultaneously were discussed in the West and concepts related to this term. Martin Buber from whom
the Far East, by these two representative theorists of Van Eyck borrowed the philosophical terms of the in-
each region. between, states that 'The fundamental condition of
First, through a review of Modernism, its limitations being human is man with his fellow man. It is rooted
and reasons for appearance of in-between concepts is in the fact that a being considers another as an other,
clarified. Through this review, four 'dimensions' for so as to be able to communicate with him in a sphere
in-between are distinguished: space, time, environment which is common to both and which transcends the
and human. These dimensions show the multi- individual spheres of both… I call the sphere of the
dimensionality of the in-between concept. in-between. It is a primary category of human reality.
Next, the two architects' theories about in-between It will be the starting point for the real third.' e Louis
are reviewed. Through this review, the conditions of in- Kahn discusses about outside and inside relationships,
stating that '…the closed door in-between rooms…
showing the possibility of communication.' f Herman
*Contact Author: Maryam Farhady, Ph.D. Student,
Hertsberger argues about the transition of space, using
University of Tokyo, Department of Architecture, Graduate
the term "threshold". He says that 'The threshold
School of Eng., The University of Tokyo, 7-3-1, Hongo,
provides the key to the transition and connection
Bunkyo-ku, Tokyo, 113-8656 Japan
between areas with divergent territorial claims and, as
Tel: +81-80-6746-4827 Fax: +81-3-5841-7474
a place in its own right, it constitutes, essentially, the
E-mail: maryfrir@yahoo.com
( Received October 8, 2008 ; accepted January 27, 2009 )
special condition for the meeting and dialogue between

Journal of Asian Architecture and Building Engineering/May 2009/23 17

areas of different orders.' g Yoshinobu Ashihara uses in turn rejected history and tradition, particularly as
two terms of "positive space (P-space)" and "negative symbolized by 'non-functional' decoration; at the same
space (N-space)", or in other words, figure and time, it refused to predict any future. 1
ground. He argues about the transformation of them Although function in Modernism achieved
and configuration of "PN-space", indicating actual several goals, it also resulted in over-articulated and
examples such as Japanese gardens. He states that concretized spaces. In that process, the nebulous and
'Japanese gardens at first glance look very natural; on undifferentiated spaces that naturally exist between
closer examination, however, they reveal themselves to demarcated areas were ignored. 4
be very elaborate, man-made miniatures of nature and The limitations of Modernism raised
to be different from N-space, which is true nature. It reconsiderations. Various changes happened. For
may be said that Japanese gardens are PN-space, which example, the rapid economic growth which resulted
has resulted from architecture, or P-space, permeating in a excessive belief in the mechanical response and
gardens.' h Arata Isozaki uses the term "gap" between created the problems of lost identity and isolated
two things, and describes an old Buddhist term. He settlements, brought some changes, such as mega-
states that 'It seems to me that ma ought best be thought structures through networking, and free-developing
of as gap, or (as with the original Sanskrit meaning) structures based on infrastructure.
an original difference immanent in things.' i Yoichiro Also, various movements emerged, seeking
Hosaka describes the "gap" or distance between two solutions. Among them Team 10 in Europe and
things as follows: 'In many cases we could see two Metabolism in Japan were established. Van Eyck
worlds that are distant enough not to influence each (1918-1999) and Kurokawa (1934-2007) were the
other directly, but still related…gap is a vital part to key members of these groups, who also individually
make it possible for each area to keep its identity. In a developed theories about the idea of coexistence in
physical level, gap has an amorphous structure.' j general, and the in-between in particular.
There are remarkable references concerning the Such changes and movements all aimed at the
theories and practices of Van Eyck and Kurokawa. reconsideration of Modernism, and the neglected
Francis Strauven in his book 'Aldo van Eyck, the aspects of design in Modernist way of thinking.
Shape of Relativity' aims to clarify the meaning of Van The separation of space according to the function in
Eyck's ideas and works, showing that they are part of a both urban and architectural levels was changed into
consistent theory which is not restricted to architecture, the idea of integration of space.
but embraces an entire cultural philosophy. In his The restriction of modernist design to the present,
book, he has directly benefited from the cooperation of raised the consideration of a time process from past to
Van Eyck himself. b Also, Vincent Ligtelijn in his book present to future in order to increase the flexibility of
'Aldo Van Eyck: Works' has documented a large number space.
of Van Eyck's projects from the architect's own archive Homogeneity of modern architecture in terms of
and original texts.a space and time, which had resulted in the separation
The most significant books about Kisho Kurokawa of human activities, changed into a more realistic
are written by the architect himself. Some are written consideration of multiplicity of human activities
in cooperation with other architects. Dennis Sharp according to the time and space.
in 'Kisho Kurokawa from the age of the machine An unfriendly living environment created by
to the age of life', gives an introduction about the modern industry, raised the importance of harmony
transmission from machine age to life age according between construction and environment, especially
to Kurokawa's point of view, through reviewing his through awareness of local characteristics, values and
books and practices. Charles Jenks states that as a traditions.
post-modern architect, Kurokawa has always kept As a result, the ideas of space, time, human
several counter-themes going at the same time. He considerations, and environment have been the
reviews Kurokawa's early concepts about Metabolism, focusing dimensions in the reconsideration of
ambiguity and fractal design, introducing him as Modernism, and the idea of the in-between.
an architect who continuously kept developing and
moving beyond himself. 3 Diagram 1. General Flow of the Theories

2. Limitations of Modernism and Reconsiderations

Modern architecture was established by freeing itself
from history and the styles of past. Its leaders such as
Gropius and Le Corbusier regarded this severance from
the past in order to free themselves from formalistic
architecture and traditional craftsmanship and instead
imply modern industry. Modern architecture has
been regarded as entirely restricted to the present. It

18 JAABE vol.8 no.1 May 2009 Maryam Farhady

3. Concept of In-between as a Theory (Diagram 1) place where the two poles are simultaneously present,
3.1 Aldo Van Eyck's concept of in-between as if they were complementary colors. d It is the point
°Inspirations at which two different worlds interpenetrate. It is a
Van Eyck became increasingly convinced of the place filled with 'multiple meaning in equipoise'.
significance of the interval which is able to transform Francis Strauven has mentioned three kinds of
vertical formations with a central and closed middle method for fusing the form as follows: 1) a link
section, into open, horizontal systems with an between two different interior spaces, 2) a twin
expanding and linear character. He recognized this phenomena at a structural level by complete mutual
quality 1) through the work of artists in and connected interpenetration, the total fusion of two different
with avant-garde, in particular De Stijl, and 2) through patterns to form a new and complex structure, and
artifacts from archaic, so-called 'primitive cultures', 3) relating part and whole, particularly two areas at
tempted him into going on distant travels e.g., to the different configurative levels, by giving part and whole
villages of Dogon in West Africa and Pueblos in North analogous structures, they can be made in principle
America. Van Eyck saw tradition as retaining its values equivalent despite their differences. The small implies
as an expression of the human identity, which while the same values and meanings as the large, and the
manifesting itself in different forms in various ages large becomes comprehensible through the small. b
and cultures, has essentially remained constant. In this Van Eyck shows that it is not a matter of choosing
light, he wanted to understand architectural heritage between two elements, but of employing both in
to enable himself to reconstruct it. He introduced conjunction in such a way that the right reciprocal
new notions into architectural thinking, notions such effect is obtained. a
as identity, reciprocity, twin phenomena, in-between An architecture that aims to be humane, must
realm, configuration, counterform, place and occasion, consequently devote special attention to the in-
which opened a new structural insight into the potential between; specifically to the architectural forms and
quality of the built environment. a transitional places through which people meet, and
°Relativity, Twin Phenomena and In-between invite them to stay. He believed that architecture should
Van Eyck was convinced that contemporary culture give shape to space in the image of mind. It can be so
has to be developed in accordance with the new world by specifying space into places; places whose shape is
view that was disclosed by avant-garde art and science in each case determined by a specific set of dual (twin)
at the beginning of the century; a world view which phenomena. He states that space in the image of man is
he held to be grounded on the concept of relativity. It place, and time is occasion. c
implies that reality cannot be considered as having an 3.2 Kisho Kurokawa's Concept of In-between
inherent hierarchical structure, to an intrinsic center. a °Inspirations
Understanding of relativity as a complex coherence 1) Communication with experts in different fields:
of space, time, matter and energy, a unity that Kurokawa expanded his contact with the world
necessarily manifests itself as diversity; the insight outside architecture. His most important achievement
that the coherence of things does not reside in their in the 1960s-and 70s was the creation of human
subordination to a central, dominant principle but in channels between professionals in the more intangible
their reciprocal relations. Relations that are just as fields, from politicians, writers, and philosophers to
important as the things themselves; the relativity of all architects. He believed that new ideas and creative
frames of reference, the awareness that they are at the activity occur when people from different backgrounds
same time autonomous and mutually related. come together.1
"Right-size will flower as soon as the mild wheels of 2) Buddhism and Japanese Vernacular Architecture:
reciprocity start working- in the climate of relativity in Kurokawa states that Metabolism is an eastern,
the landscape of all twin phenomena."– Aldo van Eyck and primarily Buddhist concept. At its base is the
(1962) b philosophy of symbiosis. 1 He tried to establish
In twin phenomena, the opposites remain a connection between Metabolism and Buddhist
recognizable as opposites. But this does not imply that concepts such as reincarnation, transmigration, and
they must be taken to an extreme. It is a concept based impermanence. 1 He tried to create the philosophy
on the insight that such opposites are not conflictive or coming from Buddhism, but completed apart from it to
mutually exclusive entities as is generally assumed in be realized as a worldwide thinking. Also, he studied
Western thinking, but that they are two different halves spiritual elements of Japanese culture to introduce
of the same entity. c them into contemporary architecture. This was the start
Van Eyck describes that polarities can occur at two of the philosophy of Symbiosis.5 He precisely mentions
different levels: that of structure, and that of form. At Buddhist notions such as ma –literally meaning gap
a structural level, the most obvious way to unite two or intermediate– and ku –literally meaning emptiness
opposing into twin phenomena is to establish an in- – as precious notions for architectural creations. He
between. This is generally achieved by making the two also mentions some traditional Japanese elements e.g.,
poles overlap to some extent. The result should be a engawa as a sort of veranda running around the house,

JAABE vol.8 no.1 May 2009 Maryam Farhady 19

mediating between inside and outside. It protects Kurokawa points out that whether in architecture
the interior from climatic changes, and is a place to and town planning, or in daily life, the concepts of
welcome guests and offer an entrance from the garden intermediary space and ambiguity are vital keys to
to the house. Also, he introduces the streets in front of implementing the philosophy of symbiosis. In the West,
machiya townhouses as traditional and intermediary one seeks to transcend dualism through the dialectical
zones, in which private space meets public space. 4 method of resolving opposites on a higher level. The
°Metabolism, Symbiosis and In-between two opposites are either unified, or one of the two
Kurokawa states that Western philosophy on which is negated, and rejected. According to the idea of
Modernism was based, is a philosophy of dualism in symbiosis, in-between, creates a dynamic relationship
which issues such as religion and technology or art between contradictory elements while allowing them
and science are opposed. Metabolism, in contrast, to remain opposed. Such relationship can be achieved
seeks for a coexistence of such issues. Metabolism is by interpolating a spatial distance (neutral zone) or a
a life principle. And, symbiosis is an idea of the life temporal space (cooling-off period) between them. 4
principle.5 The term metabolism was borrowed from 3.3 Reinterpretation of In-between According to the
the field of biology, where it refers to the processes Theories
and changes that a creature undergoes as it lives. It is According to the theories, three types of relationship
based on two principles: 1) Symbiosis of different time between two subjects of integration –A and B– are
periods, or a diachronic system: the term metabolism recognized and named as a 'set of two elements (A /B)'.
was chosen for the movement to express the conviction 1. Contradictory A and B
that a work of architecture should not be frozen In-between condition mostly appears between two
and unchanging once it is completed, but should be opposites. According to the two architects' ideas, most
apprehended instead as a thing –or as a process– frequent conditions of contradictory relationship in
that evolves from past to present and from present to design could be contradictory spaces such as natural
future.1 2) Synchronicity of space: each culture has and man-made, interior and exterior, or notions such as
its own distinct character that can at the same time old and new, and public and private.
be linked to every other culture in the world. So, the 2. Hierarchical A and B
syncretism Kurokawa speaks about is based on the When two elements in different configurative levels
principle of equal distance between each culture of the meet each other they could create an in-between. As
world. It is the main philosophic base for the move remarked by Aldo Van Eyck in such a condition, A and
from internationalism to interculturalism.1 B could be part and whole, which both imply the same
He pointed out and discussed types of symbiosis; value.
symbiosis of part and whole, symbiosis of interior 3. Similar A and B
and exterior, symbiosis of history and present, and In some cases two elements are not opposites but
symbiosis of man and technology. coexist in a complementary way. As mentioned in
Table 1. Comparison of In-between Concepts - Dimensions of In-between (AB), Set of A/B, Factors of In-between-

20 JAABE vol.8 no.1 May 2009 Maryam Farhady

the theory of Aldo Van Eyck, such a condition could Van Eyck through a 'Threshold' in his Amsterdam
appear when two different interior spaces are linked. Orphanage, where the threshold provides the key for
transition between public and private realm. Here it
4. Comparison of In-between Practices is a forecourt that reaches to the heart of the building,
4.1 Analysis of Practices a large doorstep that articulates into an urban square,
The two architects have practiced the in-between as continuity of a public realm. b On the other hand,
concept, using different ideas. Their ideas of in- Kurokawa shows this relationship using the idea of
between are clarified as 'factors'. Practices are 'Semi-publicness' in Daido Seimei where he designed
compared, using the involved 'factors' in each 'set of A a pedestrian walkway passing through the building for
and B' (Table 1–horizontal direction, Fig.1): convenience of pedestrians in downtown.4
4.1.1 Contradictory A and B 4.1.2 Hierarchical A and B
The in-between mostly could exist between two A Hierarchical relationship between A and B in
contradictory elements. their works, is basically a Part / Whole relationship.
A Natural/ Man-made relationship is introduced This type is widely practiced by Van Eyck. For
in Van Eyck's Visser House through 'continuity of instance, in the Amsterdam Orphanage, the focus
nature into building' by repeating wooden columns, is on 'asymmetry and number of units' in which
to have harmony with the surrounding forest. a asymmetrical composition makes it possible for units
Kurokawa expresses it, for instance, by 'combination to have a dynamic development. A number of corridors
of materials' in the Hiroshima Art Museum; using were designed, giving independence to each unit. So,
traditional materials of stone and tile, combined with part and whole are repeatedly mutually linked. In his
aluminum for a futuristic atmosphere.3 Wheels of Heaven Church, he introduces a different
An Old/New relationship is introduced by Van method through 'multi-centrality'. Four circles with
Eyck through 'traditional essence' in the Amsterdam two points of focus form a multi-centered ambivalent
Orphanage, using circular and rectangular shapes in place. By using different seat arrangements, a
the plan as the essence of his design language. a In person can experience the same space from different
the Hubertus House, 'overlap of new and old' is put perspectives; being in one part but recognizing the
into practice through a new part accessible by the old whole. a In Sonsbeek Pavilion, he introduces a 'fusion
entryway.a Kurokawa expressed the 'fragmentation of different patterns' by designing a series of parallel
of traditional elements' in Wakayama Museum using walls with straight, round, convex or concave shapes,
traditional eaves in an abstracted way. 3 On the other mixed with each other to form the walls.b
hand, he insists on spiritual inspiration and 'traditional Kurokawa, on the other hand, showed the Part/
aesthetics' in design. For instance, in the National Art Whole relationship through a metabolic concept.
Center, he used a fractal shape for the glass facade, In Nakagin Capsule Tower, a 'change of usage' is
inspired by natural curves in traditional Japanese expressed. The building is without a center, being able
garden. to extend in defined units to infinity, and is able to be
The Interior/Exterior relationship is the most used in different ways.1 In Kuala Lumpur International
significant type in their works. Van Eyck created a Airport(KLIA), '3D extension and rearrangement
'vertical gap' in the Hubertus House by employing a of homogeneous units' gives flexibility for future
multi-story doorway between the outside and inside.a changes.3
In the Schmela Gallery, aiming at the 'interiorization 4.1.3 Similar A and B
of exterior', he designed a roofless vertical void, A Similar type of relationship between A and B,
in which the exterior becomes an intimate inner in the works of these two architects, is basically
space. a He emphasized the 'repetition of color' in concentrated in an Indoor/Indoor relationship. Van
the Court of Audit in which the blue color moves Eyck puts it into practice, for instance, through
independently from inside to outside.a In Visser House 'articulation of different types of space'. In his
the 'continuous structural frame' of wood underpins Catholic Church of Hague, different heights are
the equality of exterior and interior.a On the other hand, articulated in the interior through combining low crypt-
Kurokawa created a 'planar gap' in the Nagoya Art like space with a tall gothic-like one, having something
Museum, designing a sunken garden and a connected of both. a
atrium-lobby.3 He introduced a 'semi-open space' in Kurokawa, on the other hand, has used a 'linear
Fukuoka Bank by employing an engawa-like space, gap' in Daido Seimei of Tokyo, in which the interior
interpenetrating interior and exterior. 4 In the Nara is divided into two parts on both sides of a street-like
City Museum of Photography, glass walls emphasize linear space.4
the feeling of 'transparency' and lightness as if the 4.2 Analysis of 'Dimensions' of In-between by Using
building is floating.3 He goes further by designing the 'Factors'
roof of Oita Stadium as a 'mobile element', changing Content of the four 'dimensions' of the in-between
space to a closed or open one.3 is discussed here using the above-mentioned 'factors'
The Public/Private relationship is introduced by (Table1–vertical direction).

JAABE vol.8 no.1 May 2009 Maryam Farhady 21

 Fig.1. Photos of Practices

°Space °Time
In architectural design, space is the most significant Time is an invisible dimension of the in-between. It
dimension of the in-between. Many of the in-between could be described directly using physical traditional
practices express the spatial aspect of this concept. elements, or indirectly by expressing the traditional
So, ambivalence of the in-between could be expressed notion and spirituality of traditional places in a
through the overlap of two elements, the continuity of contemporary work. Also, it could appear through
one into another, the articulation of elements to create mobility and temporality of elements, making the
a gap as a third space, the repetition of units and the building flexible for spatial and functional changes
formation of a whole, fragmentation of element for a according to the time.
more integrated relation, or fusion of different patterns °Human
or spaces. This dimension expresses the overlap of different
°Environment human activities, multi-usage and multi-functionality
Environmental in-between could be defined of a single space in order to produce a non-physical
by bringing delicacy to design, in order to create ambivalence concentrated on the human usage of
ambiguity; using transparency, color, or materials such space.
as water, light, shadow, wind and greenery.

22 JAABE vol.8 no.1 May 2009 Maryam Farhady

5. Conclusion Time is an invisible dimension of the in-between.
1) Limitations of Modernism resulted in various It is described as an in-between condition directly
changes and new movements, perceiving the neglected using physical traditional elements, or indirectly by
aspects of design in the Modernist way of thinking. expressing the traditional notion and spirituality of
The in-between idea was a result of the reconsideration traditional places in a contemporary work, mobility
of Modernism. Such reconsideration was mainly and temporality of elements.
focused on four dimensions of space, time, human and The human dimension was expressed through multi-
environment. usage and multi-functionality of a single space.
Among contemporary architects who discussed 5) Interrelations between the above issues, as shown
the limitations of Modernism and its solutions, Aldo in Table 1, could prove that the more dimensions
Van Eyck and Kisho Kurokawa have clear theories and factors related to the in-between get involved
about the in-between. They have put in to practice the in a single design, the more complicated and multi-
coexistence of various issues through their architectural layered meaning of the in-between will be. And,
design, which were considered conflicting elements in such interrelations could bring new possibilities for
the dualistic viewpoint of Modernism. designing the in-between.
2) As argued in the theory level, both architects had
relationship with experts from other fields of study. References
Additionally, both principles of 'metabolism' and -Kisho Kurokawa:
'relativity' are originally scientific terms adapted to 1) Kurokawa, Kisho. (1988) Rediscovering Japanese Space.
Weatherhill.
architecture. Also, both architects were inspired by
2) Kurokawa, Kisho. (1987) The Architecture of Symbiosis. Rozzoli.
vernacular architecture, aiming at the reorientation of 3) Kurokawa, Kisho. (1998) Kisho Kurokawa from the age of the
it to contemporary architecture through the concept machine to the age of life. BookArt.
of the in-between. They described the same issue 4) Kurokawa, Kisho.(1983) Each one a Hero: The philosophy of
of 'coexistence' –on which the in-between is based– Symbiosis. Kodansha.
5) Blum, Betty. (2002) Interview with Kisho Kurokawa. The Art
using the terms of 'twin phenomena' and 'symbiosis'.
Institute of Chicago.
However, Kurokaw a preferred to divide such
coexisting conditions precisely to specific types of
-Aldo van Eyck:
symbiosis. And, Van Eyck through a poetic approach, a
Ligtelijn, Vincent. (1999) Aldo Van Eyck: Works. Birkhäuser.
discussed different sets of twin phenomena in parallel. b
Strauven, Francis. (1998) Aldo van Eyck, the Shape of Relativity.
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c
that an in-between condition could appear in various Van Eyck, Aldo and O. Newman. (1961) CIAM '59 in Otterlo.
Stuttgart. p.33.
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P. Klee. (1925) Paagogisches Skizzenbuch Munich. (reprint, Mainz
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Similar A and B appears between two elements Kahn, Louis. (1986) What Will Be Has Always Been. Rizzili. p210.
g
Hertzberger, Herman.(1991) Lessons for Students in Architecture.
which coexist in a complementary way (two interior 010 Publishers. p.32.
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Ashihara, Yoshinobu. (revised edition 1981) Exterior Design in
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i
between are introduced. These factors were used for Isozaki, Arata. (2006) Japan-ness in Architecture. Massachusetts
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of the above three types of relationship between two Kodansha. pp.6-7.
elements of A and B. Also, these factors helped in the
analysis of four dimensions in the concept of the in-
between.
Space is the most significant dimension of the
in-between. Ambivalence of the in-between was
expressed through ideas such as the overlap of two
elements, continuity of one into another, or articulation
of elements to create a gap as a third space.
Environmental factors were shown by bringing
delicacy to design, using transparency, color, water,
light, or greenery.

JAABE vol.8 no.1 May 2009 Maryam Farhady 23