Architecture remains in constant tension with natural forces. Designed around gravity, climate, and time, buildings are always part of larger systems. Throughout the world, designers have tried to mitigate natural forces by constructing hybrid spaces and structures, artificial areas where nature meets the manmade. Embodying this relationship, canals reflect a desire to direct nature and its flows. Today, these fluid spaces are opening up to new programs, projects that explore modern life and urban vitality.
Atelier Bow Wow: The Latest Architecture and News
Kasteel van Horst, a 17th-century castle in rural Belgium, and the raucous music festival it hosts every fall are an unlikely pair. But for the past four years, the Horst Music and Art Festival hosted at the castle just outside of Leuven, Belgium has brought together international artists, musicians, architects, and designers for a weekend of creative celebration. For the fifth and final iteration of the festival this year, Tokyo-based architecture firm Atelier Bow-Wow will join the mix.
For the large majority of "household names" in the architectural sphere, their origins take on an almost mythical status – and this is certainly the case for Atelier Bow-Wow, one of Japan's most renowned internationally operating studios. In this discussion with Dean Amale Andraos (Columbia GSAPP), Momoyo Kaijima—who co-founded the practice with Yoshiharu Tsukamoto in 1992—discusses their particular relationship between research and practice, the difficulty and rewards of working in the Fukushima area following the 2011 tsunami and nuclear incident, and her personal interest in working across generations to develop a deeper understanding of the relationship between buildings and their inhabitants.
“I came to the conclusion that recovery from Great East Japan Earthquake should be compared to Japan’s recovery from the World War II.” —Yoshiharu Tsukamoto, Co-founder, Atelier Bow-Wow and member of ArchiAid
Architects Momoyo Kaijima and Yoshiharu Tsukamoto, co-founders of the highly regarded architectural firm Atelier Bow-Wow in Tokyo, discuss the architect's role in post-disaster revitalization, and their findings from their work in Tohoku for the last six years.
“Belonging,” the curatorial quintet of the 2016 Oslo Architecture Triennale, After Belonging, argue, “is no longer something bound to one’s own space of residence, or to the territory of a nation.” For this group of Spanish-born architects, academics and theorists—Lluís Alexandre Casanovas Blanco, Ignacio Galán, Carlos Minguez Carrasco, Alejandra Navarrese Llopis and Marina Otero Verzier—the very notion of our belongings and what it means to belong is becoming increasingly unstable.
After Belonging is the sixth incarnation of the Triennale and the first one in which a single curatorial thread has woven all of the festival’s activities together, including the international conference. The goal of the two primary exhibitions—On Residence and In Residence, including a series of Intervention Strategies—is to develop platforms with the aim of “rehearsing research strategies,” providing new ways for architects to engage with “contemporary changing realities."
New images from HOUSE VISION Tokyo 2016 have been released as the event opened to the public this past weekend. This year’s theme, “Co-Dividual: Split and Connect / Separate and Come Together,” explores how architecture can create new connections between individuals, and the ways Japanese housing can adapt to cultural shifts through the implementation of technology.
This year’s exhibition features house designs by top Japanese architects including Sou Fujimoto, Kengo Kuma, Shigeru Ban and Atelier Bow-Wow, each paired with a leading company to envision and implement new strategies in housing design.
Continue after the break to see images from the event and the pavilions.
Following the success of the inaugural HOUSE VISION Tokyo in 2013, the exhibition is set to return again this summer under the theme of “Co-Dividual: Split and Connect / Separate and Come Together.” Once again curated by Kenya Hara, designer and creative director for minimalist housewares retailer Muji, the month-long event will tackle the objective of “thinking about how to create new connections between individuals,” as well as build upon the topics explored by its previous edition, namely the ways in which Japanese housing can adapt to recent demographic, technological and cultural shifts, and the vision of the house as the intersection between industries.
This year’s exhibition will feature house designs by top Japanese architects such as Sou Fujimoto, Kengo Kuma, Shigeru Ban and Atelier Bow-Wow, each paired with a leading company to envision and implement new strategies in housing design. The houses will be constructed at full-scale, allowing event-goers to fully experience and reflect upon each design.
The After Belonging Agency, the curatorial team behind the 2016 Oslo Architecture Triennale (OAT), have revealed sixteen speakers who will present at the event's central conference at the Oslo Opera House this coming September. Atelier Bow-Wow, Snøhetta alongside a number of other academics, practitioners and decision-makers will come together to "address architecture’s relation to current pressing questions such as refugeeism, migration and homelessness, new mediated forms of domesticity and foreignness, environmental displacements, tourism, and the technologies and economies of sharing."
Qatar Museums has announced a shortlist of eight finalists that will move on to the third and final stage of the Art Mill International Design Competition in Doha. On a site extending into the Arabian Sea that was only recently occupied by Qatar Flour Mills, Art Mill will integrate gallery and exhibition space with facilities for education, events, conservation, art handling, and research. Joining the Museum of Islamic Art designed by I.M. Pei, and the still under-construction National Museum of Qatar, designed by Jean Nouvel, in the words of the competition brief, “Art Mill will and extend and intensify the cultural quarter being developed in Doha.”
Ochoalcubo (Eight-Cubed) is a pioneering project in Chile that seeks to unite leading Chilean and Japanese practices with ground-breaking architecture. The collaborative enterprise was started by Eduardo Godoy, a design impresario who began working in Chile in the 1980s and who has always been a strong advocate for innovative design and architecture in the country. For a nation that boasts more than forty individual schools of architecture, the ever growing number of professionals seems to have had a relatively small impact on Chilean cities. Faced with the seemingly infinite landscape of 'cookie-cutter housing' in the suburbs, Godoy implemented Ochoalcubo in order to provide opportunities for young professionals, alongside fostering a new kind of appreciation for the profession itself. With a large number of architects having taken part in the first stage, including Smiljan Radic (designer of the 2014 Serpentine Pavilion), the third and fourth stage of what is certainly one of the world's largest active architectural laboratories will be launched in the coming days.
See images from all sixteen proposals from third and fourth stages of the Ochoalcubo project, including those by SANAA, Sou Fujimoto, Kengo Kuma, Alejandro Aravena and Atelier Bow Wow, after the break.
Hans Ulrich Obrist, Herzog & de Meuron, & Atelier Bow-Wow's "Stroll Through a Fun Palace" - Switzerland's Pavilion for the Venice Biennale 2014
"We often invent the future with elements from the past."
From the Curators. Within the Biennale’s context of re-examining the fundamentals of architecture over the past century, the Swiss Pavilion focuses on the English architect Cedric Price (1925–2003) and the Swiss sociologist Lucius Burckhardt (1934–2003), two great visionaries whose work resonates with and continues to inspire the new generations of the 21st century.
Both were serial inventors. The trans-disciplinary cultural centre designed by Price, Fun Palace, for example, which was never realized, is emblematic of our own era. It lends itself more to the choreography of 21st century time-based exhibitions than to the object-based displays of the 20th century; it fosters a more communal experience, largely free to operate outside its material limits, and ventures into other realms of human experience. In Price’s own words, “a 21st century museum will utilize calculated uncertainty and conscious incompleteness to produce a catalyst for invigorating change whilst always producing the harvest of the quiet eye”.1
Hans Ulrich Obrist, co-director of London’s Serpentine Gallery, has been chosen as curator for the Swiss pavilion at the 2014 Venice Architecture Biennale. Inspired by director Rem Koolhaas’ theme, “Fundamentals,” Obrist recalled the first architects he ever met, Jacques Herzog and Pierre de Meuron, and invited them to collaborate on the exhibition.
“When I was invited to do the pavilion, I thought working with [Herzog and de Meuron] fit in with the whole idea of the biennale this year – looking to the past, and using the past as a toolbox to create the future,” Obrist told ARTINFO UK.
The pavilion, which has already gotten its "cloud" nickname because of its shape and lightness, is generated through a three-dimensional steel grid of about 40 centimetre modules which morphs on each side. The structure is broken to allow people access as well as to generate different uses around, below and upon it.
More pictures and the architect's statement after the break.
In Chile, a very special project is being developed.
Eduardo Godoy, a design impresario who started his business in Chile in the '80s, has always been an advocate for design and architecture in the country. In Chile, more than 40 schools of architecture have flooded the market, but the ever-growing number of professionals has had a relatively small impact on Chilean cities. Seeing the almost infinite landscape of cookie-cutter housing in the suburbs, Godoy asked himself: why not break this model into smaller pieces, each designed by a particular architect, each an opportunity for a young professional? With this in mind, and to foster the appreciation for architects, Eduardo and his team at Interdesign started a project called "Ochoalcubo" (Eight-Cubed). His original idea was to make 8 projects, with 8 buildings designed each by 8 architects, to create developments where the singularity of each piece was key, in order to demonstrate how the individuality of the architect could result in good architecture.
Two Izu retirees hired architects Yoshiharu Tsukamoto and Momoyo Kaijima to design them a home equipped with a neighborhood bookshop and cafe. The Japanese practice stepped up to the challenge and constructed an elegant, curved structure whose white walls and wooden ceiling hug the hundred degree undulating street on which its located and embraces the wooded forest it backs to. The home - which features two bedrooms, a kitchen, cafe, bookshop and atelier - is accessed beneath a bridged part of the structure and organized as a sequence. Take a tour through this interesting space with this short video made by JA+U Magazine.
BMW Guggenheim Lab design architect Yoshiharu Tsukamoto, Co-Principal of Atelier Bow-Wow, discusses the importance of behaviorology and the crucial role that architecture can play in giving back a sense of autonomy of spacial practice to citizens.
This villa is located in plot ORDOS project.
Architects: Atelier Bow-Wow / Yoshiharu Tsukamoto, Momoyo kaijima, Shun Takagi Location: Ordos, Inner Mongolia, China Design year: 2008 Construction year: 2009 Curator: Ai Weiwei, Beijing, China Client: Jiang Yuan Water Engineering Ltd, Inner Mongolia, China Constructed Area: 1,000 sqm aprox