ATELIER BOW–WOW, Intervjuoris, broj 53, godina 2008

Made in Tokyo

razgovarali interviewed by

Razgovarali u Zagrebu 10. svibnja 2008.

Oris — Htjeli bismo razgovarati o nekoliko tema vezanih za vaš rad, prije svega o vašim crtežima kao svojevrsnom zaštit­nom znaku i o objavljenim istraživanjima te, s druge strane, o vašim izgrađenim radovima, posebice mikro mjerilu obitelj­skih kuća i hiperkontekstualnosti takve arhitekture u odnosu spram specifičnosti lokacije. Možda bismo mogli zapo četi s vašom posljednjom knjigom Graphic Anatomy. U predgovoru postoji vrlo interesantna paralela između vaših arhitektonskih crteža i ilustracija u biologiji i prirodoslovlju. Moglo bi se reći da su vaši crteži po objektivnosti načina prikazivanja i vrlo

portreti portraits

Atelier Bow–Wow, Interview12 13oris, number 53, year 2008

Made in Tokyo

Ana Dana Beroš Alan Kostrenčić Roman Šilje

Yoshiharu Tsukamoto Momoyo Kaijima

fotografije photographs by Atelier Bow-Wow (ABW)

Oris — In this interview, we would like to talk about a few issues relating to your work, first of all your drawings as your hallmark, and your published research, and on the other hand your built work, especially on the micro­scale of single family houses, the hypercontextuality of that architecture and site specifics. Maybe we should start with you last book, Graphic Anatomy. There is an interesting thing in the foreword, some kind of parallel between your architectural drawings and illustrations in biology and natural history. We could say that your drawings are, in an objective kind of representation and

Damil Kalogjera

Interviewed in Zagreb, May 10th 2008

ATELIER BOW–WOW, Intervjuoris, broj 53, godina 2008

preciznom načinu crtanja vrlo slični ilustracijama botaničara ili anatomista. Također je zanimljivo što se takva vrsta prikaza mijenja od projekta do projekta, od jednog mjerila do drugog. U knjigama Pet Architecture i Made in Tokyo imate jednu vrstu arhitektonskih crteža, a ovdje sasvim drugačiju, vrlo preciznu i naprednu. Možete li nam reći nešto o načinu na koji se slu ži te crte ž ima kao arhitektonskim alatima? ¶ BOW–WOW — Uvijek stremimo pronalaženju jedinstvene prezentacije onoga što želimo prikazati. U našoj prvoj knjizi Made in Tokyo htjeli smo prikazati vrlo normalan okoliš, ne samo za Japance nego i za strance. Za ljude iz drugog grada i druge kulture foto gra fija možda ne obuhvaća dovoljno. Potom počnemo crta ti ono što vidimo i objašnjavati što je osobito u svakom slu čaju. Primjerice, Super Car School iz knjige Made in Tokyo je samo supermarket, ali koji na svom krovu ima i vozačku školu. Ima poligon za vo žnju, ulične svjetiljke, automobile, nizbrdice za vježbanje kočenja. I u knjizi Pet Architecture Guide Book elementi koji izviru iznutra vrlo su bitni za shvaćanje prostornog iskustva svakog pojedinca. Mi tu kvalitetu prostora - da je zgrada slič-nog mjerila kao i klima uređaj ili samoposlužni automat - nazi-vamo ‘prilagođavanjem’.Oris — U svojoj drugoj knjizi Pet Architecture Guide Book ko ri stite prikaz čovjeka sa psom, što je vrlo zgodno za stje­canje utiska o veličini zgrade koja je zapravo vrlo malena. ¶ BOW–WOW — Sama zgrada je vrlo mala, tako da elementi koji su kasnije dodani oko nje, kao samoposlužni aparat ili vanjska jedinica klimatizacijskog uređaja, imaju vrlo jak utjecaj na njen izgled. Made in Tokyo i Pet Architecture Guide Book pomo ći će vam u spoznavanju Tokyja kroz njegovu arhitekturu. U tom slučaju ljudi mogu čitati arhitekturu, analizirati je ili pro matrati kao dio urbanog krajobraza. U četvrtoj knjizi, u Graphic Anatomy pokušali smo pokazati i naše arhitekton-

ske detalje i ljudsko ponašanje prema svakodnevnim predme-tima. U njoj je nacrtan odnos između ljudskog ponašanja i građe v nih elemenata i prostorne organizacije. Primjerice, u tako ma lim kućama prozori postaju iznimno bitni. Ti su crteži prvotno nacrtani u našem uredu kao tehnički nacrti i detalji za gradnju, a potom su studenti dodali perspektive sa svakodnev-nim pre dmetima i životnim situacijama kao što su sjedenje u kući ili uživanje okoliša iz unutrašnjosti kuće. Prozori, osim toga, omogućuju stjecanje životnih vještina kontroliranjem odnosa unutarnjeg i vanjskog. Knjiga je izdana kao katalog naše izložbe u Tokyju da bi se lakše shvatili modeli u mjerilu 1:20, izloženi u galeriji. Publika je ponijela knjigu sa sobom u izložbeni prostor kako bi mogla uspoređivati naše crteže i modele. ¶ Ta je knjiga i naš odgovor na prethodne knjige o

Kadokko, Restoran, Tokyo, Japan, iz knjige Pet Architecture Guide Book (Tokyo Institute of Technology Tsukamoto Architectural Laboratory & Atelier Bow-Wow)

Super car school, Supermarket + vozačka

škola, Tokyo, Japan, iz knjige Made in Tokyo

(Momoyo Kaijima, Yoshikaru Tsukamoto,

Junzo Kuroda)

Ueda Motor, Trgovina motociklima, Tokyo, Japan, iz knjige Pet Architecture Guide Book (Tokyo Institute of Technology Tsukamoto Architectural Laboratory & Atelier Bow-Wow)

Atelier Bow–Wow, Interview14 15oris, number 53, year 2008

very precise way of drawing, quite similar to a botanist’s or anatomist’s illustrations. It is also interesting that this kind of representation changes from project to project, from scale to scale. You have one kind of architectural drawing in Pet Architecture and Made in Tokyo and quite another here, very precise and advanced. Can you tell us something about your ways of using drawings as architectural tools? ¶ BOW–WOW

—We always try to find a unique presentation on what we want to show. In our first book, Made in Tokyo, we wanted to show a very normal environment, not only for Japanese people, but also for foreigners. For people, from another city, from another culture, a photograph may not be comprehensive enough. Then we start to draw what we saw, and to explain what is special in each case. For example, Super Car School from Made in Tokyo is just a supermarket, but it also has a driving school on the roof. It has a driving course; streetlights, cars, slopes for brake training. Also in the Pet Architecture Guide Book, the elements spilling over from inside are qui te important to understand the spatial practice by each indi-vi dual. We call this spatial quality ‘customization’ when the building is at a very similar scale to an air conditioner or ven-ding machine.Oris — In your second book, Pet Architecture Guide Book you picture a man with a dog, which is quite nice to get an impression of the size of a building which is actually quite small. ¶ BOW–WOW —The building itself is very small so the elements lately added around the building, such as vending machines or air conditioning exterior units, have a very strong impact on the building’s appearance. Made in Tokyo and Pet Architecture Guide Book help you understand the city of Tokyo through its architecture. So the architecture can be read by people, or can be analyzed or observed as part of the urban

landscape. In the fourth book, Graphic Anatomy, we also tried to show our architectural detail and human behaviour with daily objects. The relationship between people’s behaviour and building elements and spatial organization is drawn in it. For example, a window becomes very important in such small houses. These drawings were initially drawn by Bow-Wow’s staff as the technical detail drawings for the construction, then added perspectives by students with daily objects and human behaviour such like how to sit in the house, how to enjoy the surrounding environment from inside the house. Windows also gather life skills on controlling the relationship between inside and outside. The book was published as the catalogue of our exhibition in Tokyo for the better under-stan ding of the 1/20 models exhibited in the gall ery. Visitors

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坂道発進練習用practice s lope for hand brake starts

スーパーマーケットsupermarket

教習車learner cars

ナイター照明street lights 自動車教習所

driving school

看板billboard

Super Car School, Supermarket + driving

school, Tokyo, Japan, from the book Made

in Tokyo (Momoyo Kaijima, Yoshikaru Tsukamoto, Junzo

Kuroda)

Ueda Motor, Motorbike Shop, Tokyo, Japan, from the Pet Architecture Guide Book (Tokyo Institute of Technology Tsukamoto Architectural Laboratory & Atelier Bow-Wow)

Kadokko, Restaurant, Tokyo, Japan from the Pet Architecture Guide Book (Tokyo Institute of Technology Tsukamoto Architectural Laboratory & Atelier Bow-Wow)

ATELIER BOW–WOW, Intervjuoris, broj 53, godina 2008

Kuća Gae, Tokyo, Japan, iz knjige Graphic Anatomy Atelier Bow–Wow (Atelier Bow–Wow, Momoyo Kaijima, Yoshikaru Tsukamoto)

Atelier Bow–Wow, Interview16 17oris, number 53, year 2008

平面詳細図 / horizontal section S:1/40断面詳細パースvertical section perspective S:1/40

ガルバリウム鋼板 t=0.35mm 曲げ加工

親水性ガルバリウム鋼板 t=0.35mm 平葺き透湿防水シート構造用合板 t=12mm遮音シート t=0.7mm垂木 50×45mm @300mmスタイロフォーム t=50mm野縁 100×30mm @455mmhydrophilic galvanized steel sheett=0.35mm flat-seam roofingvapor permeable waterproof membranestructural plywood t=12mmsound insulation sheet t=0.7mmrafter 50×45mm @300mmrigid insulation form t=50mmceiling joist 100×30mm @455mm

親水性ガルバリウム鋼板 t=0.35mm 平葺き透湿防水シート構造用合板 t=12mm遮音シート t=0.7mm通気縦胴縁 15×30mm @300mmスタイロフォーム t=40mm横胴縁 40×35mm @300mmhydrophilic galvanized steel sheett=0.35mm flat-seam roofingvapor permeable waterproof membranestructural plywood t=12mmsound insulation sheet t=0.7mmvent vertical furring stripes 15×30mm @300mmrigid insulation form t=40mmfurring stripes 40×35mm @300mm

bending galvanized steel plate t=0.35mm

換気/結露抜き用穴φ22mm・ウレタンゴム栓ventilation and dew condensation prevention hole φ22mmurethane rubber plug

クローゼットcloset

寝室bed room

吹抜void

竪胴縁：60×30mm @300mm80×30mm @300mm

コンクリート打放しexposed concrete

インテリアラーチ合板 t=4mm合板捨て張 ｔ=12mmアクアレイヤ式床暖房 t=45mm根太 45×30mm @300mm進化式防水コンクリート t=250mm金ゴテ仕上げスタイロフォーム t=25mm捨てコンクリート t=50mm砕石 t=60mm

水平窓：フロートガラス t=6mm飛散防止フィルム張り鉄骨サッシhorizontal window：float glass t=6mmshatter-prevention sheetsteel sash

キッチンカウンター：ステンレス曲げ加工kitchen counter：bending stainless steel

デッキプレート t=75mm 露しアクリルシリコン塗装仕上げsteel deck t=75mm acrylic silicone paint finish

窓台,腰壁：ホワイトバーチ t=4mmwindow sill,spandrel wall：white birch t=4mm

合板 t=5mm,UEplywood t=5mm,polyurethane resin enamel paint

構造用合板 t=12mmstructural pylwood t=12mm

トッパーコルク t=7mmtopacork t=7mm

FB 19×150mm

ハンガーパイプ:丸鋼 φ=24mm 曲げ加工

竪胴縁 30×60mm ＠300mmvertical furring strips 30×60mm ＠300mm

外構:コンクリート平板ブロック、砂利敷きexterior:concrete plate block、gravel paving

構造用合板 t=12mm竪胴縁 30×60mm ＠300mmstructural pylwood t=12mmvertical furrring strips 30×60mm ＠300mm

明かり窓：アクリル板 t=10mmtop light：acrylic board t=10mm

手摺：丸鋼 φ=24mm,OPhandrail：round steel φ=24mm,oil paint finish

ホワイトバーチ t=4mm ワックス仕上げ合板捨て張り t=12mmアクアレイヤ t=60mmスタイロフォーム t=30mm木ネダ 90×30mm @300mmwhite birch t=4mm wax finishplywood underlay t=12mmaqua layer t=60mmrigid insulation form t=30mmfloor joist 90×30mm @300mm

リビング・ダイニング・キッチンliving・dining･kitchen

軒下端soffit of eaves▽GL+4,400

▽GL±0

コンクリート上端upper surface of concrete▽GL+150

▽GL+1,116

2FL▽GL+3,518

B1FL▽GL-1,138

1.25

1

interior larch plywood t=4mmplywood underlay ｔ=12mmunder-floor heating t=45mmfloor joist 45×30mm @300mmevolving waterproofed concrete t=250mm(trowel concrete)rigid insulation form t=25mmconcrete sub-slab t=50mmcrushed stone t=60mm

道路斜線

setb

ack

regu

latio

n fro

m ro

ad w

idth

サンルームsunroom

進化式防水コンクリート t=200mmスタイロフォーム打込み t=40mmwater-proof concreate t=200mminlaid rigid insulation form t=40mm

hanger pipe: bending round steel φ=24mm

根太受け 88×30mmfloor joist support 88×30mm

FB 19×150mm

根太受け 88×30mmfloor joist support 88×30mm

100×45mm @300mm

構造用合板 t=12mm,UEstructural pylwood t=12mm,polyurethane resin enamel paint

□-75×75×4.5mm シルバーラッカー塗装□-75×75×4.5mm silver lacquer paint

ガルバリウム鋼板 t=0.35mm 重ね貼構造用合板 t=12mmgalvanized steel plate t=0.35mm steel shinglesstructural pylwood t=12mm

机天板：ホワイトバーチt=4mmdesk top board：white bircht=4mm

手摺：丸鋼 φ24mm,OPhandrail：round steel φ=24mm,oil paint finish

デッキプレートアクリルシリコン 塗装仕上げsteel deckacrylic silicone paint finish

腰壁,窓台：ホワイトバーチ t=4mm,UCspandrel wall,window sill：white birch t=4mm,urethane clear paint

24h換気給気グリル24h ventilator grill

キッチンカウンター：ホワイトバーチ t=4mm練り付けシナ合板 t=15mm,UCkitchen counter：white birch veneer t=4mmjapanese linden plywood t=15mmurethane clear paint

透明ガラス t=6mm飛散防止フィルム貼clear glass t=6mmshatter-prevention sheet

排気口exhaust opening

GL+3,518

ガルバリウムカラー鋼板ポップシルバー重ね貼galvanized color steel plate pop silver singles

散水栓water spraying cock

サンショjapanese pepper

ブルーベリーblueberry

ミモザgolden mimosa

オリーブolive

キョウチクトウoleander

ミヤギノハギmiyagino-hagi

カロライナジャスミンcarolina yellow jasmine

トケイソウpassion flower

テイカカズラteika-kazura

ムベstauntonia

ムベstauntonia

棚: ホワイトバーチshelf: white birch

踏板:鉄板 t=4.5mm ケイ砂入り塗装treadboard:steel plate t=4.5mm silica sand painting

シラカシshira-kashi

キッチンシンク：ステンレス曲げ加工kitchen counter：bending stainless steel

virtical furring strips：60×30mm @300mm80×30mm @300mm

ささら: 鉄板t=12mm,OPstring: steel plate t=12mm,oil paint finish

flat bar 19×150mm

キッチンkitchen

リビングダイニングliving･dining room

flat bar 19×150mm

書斎study room

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Gae House, Tokyo, Japan, from the book Graphic Anatomy Atelier Bow–Wow (Atelier Bow–Wow, Momoyo Kaijima, Yoshikaru Tsukamoto)

ATELIER BOW–WOW, Intervjuoris, broj 53, godina 2008

detaljima, poput knjiga s detaljima arhitekata Makija i Anda, iz kojih smo učili dok smo bili studenti.Oris — Prema tome, proučavanje načina crtanja detalja i na čina prikaza arhitektonskog mišljenja kroz crtež mo že biti vrlo korisno i edukativno. Objavljivanje tih crteža pruža mogućnost predstavljanja vašeg načina razmišljanja i rada ši roj publici. ¶ BOW–WOW — Publikacije su za nas vrlo važ-ne jer nas zanima širi okvir djelovanja arhitekture. Ukoliko širi okvir projekta nije dobar, onda samo trošimo energiju bez učin kovitog rezultata. Pronalaženje odgovarajućeg okvira djelo-vanja za svaki projekt jedna je od najvažnijih uloga arhitekata danas u eri bez snažnog socijalnog, arhitektonskog kano na. Do 60-ih godina prošlog stoljeća jezik arhitekture je imao snažan kanon kojeg je društvo dijelilo, no danas svaki arhitekt može iznova definirati i izumiti arhitektonski jezik. Okvir djelovanja projekta mora biti dobro promišljen ako se želi da taj jezik bu-de uvjerljiv. Prve dvije knjige bile su vrlo bitne za nas jer su promatranjem postojećeg okoliša uspostavile određeni okvir djelovanja arhitektonskim radovima u Tokyju. ¶ Druga moti va-

cija bila je stvoriti stil crtanja. Budući da se knjiga Made in Tokyo bavi hibridnim uvjetima različitih programa u gradu, do voljan je jedan crtež nalik na pasicu stripa za prikazivanje različitih programskih elemenata. Jednostavna metoda crta nja bitna je i u radu sa studentima. Tom metodom crtanja eliminirali smo razliku između crtanja svakog pojedi nog studenta u svrhu opti-miziranja svih prikaza građevine i našu studiju učinili znans tve-nijom. U knjizi Pet Architecture Guide Book, osim ako ih nisu dizajnirali arhitekti, morali smo crtati detaljnije, jer knjiga govori o građevini sastavljenoj od svakodnevnih predmeta. U vezi s knjigom Graphic Anatomy mogu reći da smo smatrali da je doš lo vrijeme da skupimo sve detalje već primijenjene u našim prethodnim projektima. Htjeli smo izraditi neku vrstu arhive za nastavak naše prakse na sličan no bolji način. Potom smo shvatili da bi crteži u mje rilu 1:20, karakterističnog presjeka veći-ne naših crteža, mo gli stati na format 31cm x 62cm da se rastvore. Poslovna zgrada visoka sto metara ne može se nacrtati u mjerilu 1:20 u tom formatu. No u njemu možemo prikazati detalje zgra-de i prostornu konfiguraciju zbog njihovih malih dimenzija.

Kuća Gae, Tokyo, Japan, 2003. Gae House, Tokyo, Japan, 2003

(ABW)

Atelier Bow–Wow, Interview18 19oris, number 53, year 2008

brought this book to the exhibition space and could compare our drawings and the 1/20 models. ¶ This book is also our response to the previous detail books, such as Maki’s, Ando’s, etc, that we learned when we were students.Oris — So, studying the way of drawing details, and also the way of representing architectural thinking in this drawing is very useful and educational. Publication of these drawings can show your way of thinking and working to wider audi­ences. ¶ BOW–WOW —Publication is very important for us, because we are very interested in the framework of the architecture. If the framework of the project is not good, we just waste our energy and the result is not efficient. Fin di-ng the proper framework of each project is one of the most important roles of architects today in an era without a strong social, architectural canon. Until the 1960s, the archi tectural language of modernism was a powerful canon and was sha-red by society, but today architectural language can be rede-fined and invented by each architect. In order to make this language convincing, the framework of the project must

(hb)

be well considered. The first two books were important for us, because they established a certain framework for archi-tectural works in Tokyo through observation of the existing environment. ¶ Another motivation was to create a style of drawing. Since Made in Tokyo is about the hybrid condition of different programmes in the city, then the drawing is eno-ugh with a single line like a comic strip to show diffe rent pro grammatic elements. A simple drawing method is also very important when we work with students. We killed the difference between each individual by this drawing method in order to optimize the collection of the building, and make our study more scientific. In Pet Architecture Guide Book, unless they were not designed by architects, we needed to draw more detail since it talks about the assembly of daily objects. In Graphic Anatomy, it was a time when we wanted to compile our details already applied on previous projects. We wanted to make a sort of archive to continue our practice in a similar but better way. Then we realized that 1/20 drawings of the main section of most of our house projects could be in the format

(ABW)

ATELIER BOW–WOW, Intervjuoris, broj 53, godina 2008

Oris — Gledajući crteže kuća u vašoj knjizi Graphic Anatomy, sve se čine vrlo ‘gustima’, vrlo povezanima s tijelom, gotovo antropometrijskim. Ovdje bismo mogli povući paralelu s ruč­no izrađenim sushijem. Radi se o nečemu vrlo kompaktnom s raznovrsnim okusima, metaforički rečeno, o nečem vrlo in­ten zivnom i zanimljivom. ¶ BOW–WOW — Izuzetna blizina svako dnevnih predmeta kao što su namještaj ili elektronski uređaji jedna je od presudnih uvjeta moderne japanske ku-će. Vrlo pažljivo pristupamo razmještanju namještaja, pose-bi ce vezano za njegovu orijentaciju. U malom prostoru je

vrlo neugodno ako dva komada namještaja stoje jedan nasu-prot drugome. U istom kontekstu ‘orijentacije’ ponovo smo otkrili prozore, te na koncu i ljudsko tijelo. O malim se ku ća-ma sada može raspravljati kao o skupu različitih orijentacija putem različitih sredstava. Sinteza tih različitih smjerova pos taje operabilni arhitektonski poredak. Un Art contextuel, Flammarion, 2002., Furnicycle predstavlja odraz tog raz mi-šljanja u mjerilu instalacije. U ovom slučaju spojili smo tri cikl sa stolicama, krevetom i sto lom u suprotnom položaju. Dok se voze cestom, radi se o trici klu, ali straga su ‘namještaj’ koji tvori instant dnevnu sobu na ulici. ‘Dog Chair’ je dizajnirana istom metodom. Orijentacija psa i stolice kombinirana je na temelju sličnosti četiri noge koje imaju i pas i stolica.Oris — Pogledate li knjigu kao što je Made in Tokyo, koja se bavi urbanim mjerilom, te potom knjigu Graphic Anatomy, koja se tiče vrlo malog mjerila, fascinantno je što postoji svo je vrstan odnos poput odnosa unutarnje i vanjske stra ne ruka vice. Prilično drugačije, pa opet na neki način veoma pove zano. Čini se da je uvijek u pitanju svojevrsna me to­do logija kojom se pokušava utvrditi arhitektonsko rje še­nje ili pak razumijevanje složene arhitektonske situacije. ¶ BOW–WOW — Knjigu smo nazvali priručnikom jer u tom trenutku nismo imali precizan zaključak našeg istraživanja. Urbani feno meni sami sebe čine različitima. Smatrali smo da je bolje da ne bude previše nalik akademskom istraživanju.

Zgrada Mado, Tokyo, Japan, 2006.

Zgrada Mado, Tokyo, Japan, 2006.

Atelier Bow–Wow, Interview20 21oris, number 53, year 2008

31 x 62 cm when it opens. A 100-metre-high office building cannot be drawn in 1/20 in this format. But we can show the details of the building and the spatial configuration because of their smallness.Oris — Looking at the drawing of houses in your book Gra­phic Anatomy, all these houses seem very dense, and very body related, almost anthropometric. We could make a pa­ra llel with handmade sushi. It is something very compact with flavours of all kinds, metaphorically speaking, very inte n se and interesting. ¶ BOW–WOW —Extreme adjacency

of daily objects such as furniture, electronics is one of the crucial conditions of the Japanese contemporary house. We are very careful on furniture arrangement, especially on the direction of the furniture. If the furniture is facing itself, it is uncomfortable in a small space. Windows are also redisco-ve red in the same context of ‘direction’, and finally the hu-man body as well. A small house can be now discussed as the collection of different directions by different means. The synthesis of these different directions becomes the operable architectural order, Un Art Contextuel, Flammarion, 2002. Furni cycle is the reflection of this thought on the scale of an installation. In this case we made a tricycle with chairs, a bed, a table attached in the opposite direction. When they are driving along the street, they are a tricycle, but when they are sitting on their backside, they are furniture and form an instant living room on the street. Dog Chair was also designed by the same method. The direction of the dog and the chair were combined based on the similarity of the four legs of a dog and a chair.Oris — It is also very fascinating to me if you look at this kind of book, like Made in Tokyo, which is about an urban scale and then Graphic Anatomy which is about this very small scale, isn’t it somehow related like the outer and inner sides of a glove. It’s very different, but in some way it is very much related to each other. It seems to me that some kind

Mado building, Tokyo, Japan, 2006

(ABW)

Mado building, Tokyo, Japan, 2006

(ABW)

ATELIER BOW–WOW, Intervjuoris, broj 53, godina 2008

Kuća Nora, Tokyo, Japan, 2006., presjek,

iz knjige Graphic Anatomy

Atelier Bow–Wow, Interview22 23oris, number 53, year 2008

Nora House, Tokyo, Japan, 2006, section,

from the book Graphic Anatomy

curtain rallカーテンレール

lauan plywood t=15mm polyurethane resin enamel paintsleeper 45×60mm@300mmrigid insulation foam t=50mmfloor beam 105×210mm@900mm

curtain ralllauan plywood t=5.5mm wax finish

lauan plywood t=5.5mm bees wax finishplywood t=12mmrigid insulation foam t=50mmliquid waterproofing concrete slab　t=200mm

lauan plywood t=5.5mm wax finish

structural plywood t=12mm polyurethane resin enamel paint

lauan plywood t=12mm bees wax finishplywood t=12mmglass wool t=100mmfloor joist 45×60mm@300mmfloor beam 105×210mm@900mm

structural plywood t=12mmbees wax finish

beam:douglas fir 90×180mm bees wax finish

single asphalt 0.4kg/㎡specialist underlay 23kg/platewaterproofed plywood t=12mmrafter 60×90mm @450mmrigid insulation foam t=50mm+30mmvapor permeable waterproof membrane

girder: douglas fir120×210mm bees wax finish

desk:conifer plywood t=24mmpolyurethane resin enamel paint

column:steel40×40mm

structural plywood t=12mm wax finishexposed beam　60×150mm@450mmexposed beam 120×210mm

trowel mortar t=15mmconcrete slab　t=150mm

girder:douglas fir 120×210mm bees wax finish

wooden fittings:alaska ceder natural resin varnish finishdouble glazing t=3mm+3mm

eave soffit:galvanized steel sheett=0.4mmspandrel w=105mmstructural plywood t=12mm

column:steel40×40mm

beam:douglas fir 60×150mm@450mm bees wax finish

gravel paving

retaining wall:cedar plate

書斎study room

玄関収納entrance

ラワン合板 t=5.5mm ワックス仕上げ

軒天:ガルバリウム鋼板t=0.4mmスパンドレル w=105mm構造用合板 t=12mm

構造用合板 t=12mm ワックス塗小梁　60×150mm@450mm 露し梁 120×210mm 露し

構造用合板 t=12mm蜜蝋ワックス塗

モルタル金ゴテ仕上げ t=15mmコンクリートスラブ t=150mm

▽GL+0

▽GL+600

▽GL+4,600

▽GL+3,000

▽GL+2,550

▽GL+3,700

ラワン合板 t=15mm UE根太 45×60mm @300mmスタイロフォーム t=50mm床梁 105×210@900

ラワン合板 t=12mm 蜜蝋ワックス塗合板 t=12mmグラスウール t=100mm根太 45×60mm@300mm床梁 105×210mm@900mm

▽GL+1,800

構造用合板 t=12mm UE

ラワン合板 t=5.5mm ワックス仕上げ

▽GL+7504

▽GL+705▽GL+660

▽GL+2,000

▽GL-400

棚(6段):針葉樹合板 t=24mm UE

机:針葉樹合板 t=24 UE

ラワン合板 t=5.5mm 蜜蝋ワックス合板 t=12mmスタイロフォーム t=50mm塗布防水剤コンクリートスラブ　t=200mm

▽GL-400

土留め:杉板

軒下砂利敷き

寝室bed room

子供室children's room

寝室収納bed room

畑vegeteable farm

収納storage

カーテンレール

1100

▽GL+7200

アスファルトシングル 0.4kg/㎡専用下葺き材 23kg/枚耐水合板 t=12mm垂木 60×90mm @450mmスタイロフォーム t=50mm+30mm透湿防水シート

柱:鋼材40×40mm

▽GL+650

小梁:米松 60×150mm@450mm 蜜蝋ワックス塗

大梁:米松 120×210mm 蜜蝋ワックス塗

大梁:米松 120×210mm 蜜蝋ワックス塗

木製建具:米ヒバ 天然ワックス系樹脂塗料ペアガラス t=3mm+3mm

床下収納storage

▽GL+6100

玄関entrance

梁:米松 90×180mm 蜜蝋ワックス塗

柱:鋼材40×40mm

　

▽GL-470

shelf(6stairs):conifer plywood t=24mmpolyurethane resin enamel paint

縁側terrace

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縁側天端レベル upper surface of porch▽GL+600

trowel mortar t=15mmconcrete slab　t=150mm

liquid waterproofing rigid insulation foam t=50mm

floor beam105×210mm

frame:larch glue-laminated timber polyurethane resin enamel paint

bolt hole30φmmwooden cap

finishing piece:supruce

wooden cap

boltM12

column:solid steel40×40mm

structural plywood t=12mm

decolated material: alaska ceder natural resin varnish finish

wooden fittings:alaska ceder natural resin varnish finish

rafter:60×90mm

single asphalt 0.4kg/㎡specialist underlay 23kg/platevapor permeable waterproof membranewaterproofed pylwood t=12mm

rigid insulation foam t=80mm

beam:douglas fir 120×210mm

separating piece PL-t=6mm

beam:douglas fir60×150mm

床見切り材:スプルス

化粧材：米ヒバ 天然ワックス系樹脂塗料

小梁:米松60×150mm

柱:スチール無垢材40×40mm

床梁105×210mm

構造用合板 t=12mm

垂木:60×90mm

スタイロフォーム t=80mm アスファルトシングル 0.4kg/㎡専用下葺き材 23kg/枚透湿防水シート耐水合板 t=12mm

ボルト穴30φmm木栓押さえ

木建具:米ヒバ 天然ワックス系樹脂塗料

縁側天端レベル upper surface of porch▽GL+600

リビング床レベル living room FL▽GL+1,000

モルタル金ゴテ仕上げ t=15mm コンクリートスラブ　t=150mm

枠:松集成材 UE

塗布防水剤塗りスタイロフォーム t=50mm

梁:米松120×210mm

木栓押さえ

割込みプレートPL-t=6mm

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断面詳細パース1 / vertical section perspective1 S:1/33

A

A 開口部・柱頭仕口詳細図 / window・joint detail S:1/10

ATELIER BOW–WOW, Intervjuoris, broj 53, godina 2008

Forma priruč nika je dovoljno otvorena i omogućava nam da dodajemo bilo što novo, bilo što zanimljivije, a tada vam skupina određenih zgrada počinje nešto govoriti. U tom tre-nutku nismo koristili termin ‘okvir djelovanja’, ali smatram da ga tako možemo zvati. Ako gledate grad kroz taj okvir, mnoge se stvari počinju činiti vrlo različitima.Oris — Pitanje koje sada otvarate tiče se grada u smislu arhi­tekture. Vi, dakle, na neki način šetate gradom hvatajući sve te različite vrste modela, sve te različite tipologije i pokušavate ih unijeti u praksu pojedinačnih kuća. Idete od velikog mjerila prema malom, no idete li u suprotnom smjeru kad obrnete procese? Pokušavate li vježbati iskustvo mjerila kuće i potom ga primijeniti na grad? Ako u vašem radu na kućama vidimo neku vrstu približavanja, postoji li i nešto nalik na udaljavanje? ¶ BOW–WOW — Da, to je nešto što trenutno pokušavamo nap-ra viti. Promatramo urbane fenomene i razumije vamo njiho-ve mehanizme (=indukcija) te malo mijenjamo odnos izme-đu elemenata kako bismo učinili da taj mehanizam stvara razli čite urbane fenomene (=dedukcija). Taj proces koji spaja indukciju i dedukciju naziva se transdukcijom. Taj smo proces testirali s Furnicycleom i nekoliko projekata nazvanih ‘Micro Public Space’ u okviru umjetničke izložbe. ¶ U istom smislu, kad radimo na maloj kući, fokusiramo se na arhitekton ski jezik. Kroz povijest su urbani oblici bili obilježeni i vizualizirani geometrijskim poretkom kao što je os, simetrija, zlatni rez, itd.

Kuća Nora, Tokyo, Japan, 2006.

Dog chairs, 2006.

Projekt Furnicycle, za izložbu Micro Public Space

Atelier Bow–Wow, Interview24 25oris, number 53, year 2008

of methodology is always in question, trying to establish a way of architectural solutions, or understanding a difficult situation. ¶ BOW–WOW —It is called a guidebook because at that moment we didn’t have a precise conclusion of our research. Urban phenomena make themselves diverse. We thought it better not to be too close like a piece of academic research. The guidebook format is open enough and allows us to add anything new, anything more interesting, and then the group of certain buildings starts telling you something. At that moment we didn’t use the word ‘framework’, but I think we can call it a ‘framework’. If you see the city through this framework, many things start to seem very different....Oris — The question you raise now is about the city as archi­tecture. So you somehow stroll through the city cap tu ring all these kinds of models, all these different typologies and trying to put them into practice in individual houses. You are going from a large scale to a small scale, and when we invert the process, do you do the opposite? Do you try to practise the experience of the scale of the house and then apply it to the city? If we could see in your work on houses some kind of zooming in, is there also some zooming out? ¶ BOW–WOW —Yes, this is something we are trying to do now. We observe urban phenomena and understand their mechanism (=induction) and change the relationship a little bit between the elements in order to make this mechanism

Nova umjetnička galerija i trg, Walsall,

Velika Britanija, 1995.–2000.

New Art Gallery and Square, Walsall, UK,

1995–2000

(hb)

Dog chairs, 2006 (ABW)

Nora House, Tokyo, Japan, 2006

(ABW)

Furnicycle project, Micro Public Space exhibition

(ABW)

ATELIER BOW–WOW, Intervjuoris, broj 53, godina 2008

ili uniformnošću vrste i stila zgrada. Takvo vizualno jedinstvo nedostaje u Tokyju. U opisu tog aspekta tokijske vizure je, posebice tijekom 80-ih godina prošlog stoljeća, često upo tre -bljavana riječ ‘kaos’. No ako pogledamo same zgrade, ti po vi su ograničeni unutar raznolike pojavnosti. Disci plina vizure Tokyja je nasumično napramapostavljanje tih različitih vrsta i svaka vizura ulice je rezultat proporcionalnog izgleda tih ti-pova. Nas zanima stvaranje nove vrste generacije u rede fi ni-ranju lokalnog specifičnog arhitektonskog jezika. Kuće koje je projektirao Bow-Wow na neki su način slične svojim susje di-ma, no i drugačije zbog proširivanja bihevioralnog kapaciteta arhi tekture. Smatramo da je to pravi način intervencije u urba-nom krajobrazu.Oris — Radi li se o arhitektonskom jeziku kao arhi tekton­skom kodu ili on uopće ne pokušava po sta ti kod? To utječe na definiciju diskriminacije. ¶ BOW–WOW — Naravno, na nas su utjecali radovi Christophera Alexandera i Alda Rossija. Izradili smo tipološko istraživanje Kanazawe, starog grada-utvrde. Kanazawa nije bombardiran niti uništen u potresu tijekom 20. stoljeća tako da još uvijek ima svoju staru urbanu strukturu. U istraživanju smo se usredotočili na jednu ulicu, onu trgovačku.

Kuća i atelijer Bow-Wow, Tokyo,

Japan, 2005.Pachinko cathedral,

Pachinko lokal + shark banke, Tokyo, Japan, iz

knjige Made in Tokyo (Momoyo Kaijima,

Yoshikaru Tsukamoto, Junzo Kuroda)

Atelier Bow–Wow, Interview26 27oris, number 53, year 2008

and Aldo Rossi. We did some typological research on Kana-zawa, an old castle city. Kanazawa has not been bombed, was not destroyed by any earthquake during the 20th century, so it still has its old urban structure. One street was focu-sed on in this research, the one designated for merch a nts. The zone along this street, painted in pink on this map, is for the merchant area, the yellow for samurai, the purple for tem ples and shrines. Merchants developed a shop/house typo logy, which has a very narrow frontage and a very deep pro file. We found that today’s streetscape is the random jux-ta position of varied types which are transformations from this original type. Several environmental pressures can be ob-served by following the transformation of type. Fire-proo fing standards, anti-seismic structure standards with higher FAR for commercial zones make it difficult to keep the two-storey, wooden original type. The need for parking spaces had a huge impact on the treatment of street frontage. If the original type is the first generation, then second, third and fourth gene-rations could be defined by the degree of trans formation. The second generation is characterised by its adaptation to the new environmental pressure on keeping the wooden stru cture.

produce diff e rent urban phenomena (=deduction). This pro-cess of combi ning induction and deduction is called trans-duction. We have tested this process with Furnicycle and several projects we call ‘micro public space’ in art exhibitions. ¶ In the same sense, we focus on architectural language when we work on a small house. In history, urban forms have been characterised and visualised by the geometrical order such as axis, symmetry, golden section, etc, or by the uniformity of type and style of buildings. This kind of visual unity is missing in Tokyo. Especially during the 1980s, the word ‘chaos’ was often used to describe this aspect of the Tokyo landscape. But if we see the buildings themselves, the types are limited under their varied appearance. The discipline of the Tokyo landscape is the random juxtaposition of these different types and each streetscape is the result of the proportional appearance of these types. Our interest is to produce a new generation type on redefining local specific architectural language. Then Bow-Wow’s houses are somehow similar to their neighbours but also different by broadening the architectural beha vio ural capacity. We think this is the way to intervene in the urban landscape.Oris — Is it an architectural language like an architectural code, or is it not trying to become a code? It’s more influen­cing the definition of discrimination. ¶ BOW–WOW —Of co-urse we are influenced by the work of Christopher Alexander

House and Atelier Bow-Wow, Tokyo,

Japan, 2005

(ABW)

Pachinko cathedral, Pachinko parlour +

Shark banks, Tokyo, Japan, from the

book Made in Tokyo (Momoyo Kaijima,

Yoshikaru Tsukamoto, Junzo Kuroda)

ATELIER BOW–WOW, Intervjuoris, broj 53, godina 2008

Zona duž te ulice, obojena u ružičasto, na ovoj karti označava trgovačku zonu, žuta je za samuraje, ljubičasta za hra move i svetišta. Trgovci su razvili tipologiju kuće s du ća nom koja ima vrlo usku fasadu i iznimno dubok profil. Otkrili smo da je današnja vizura ulice samo na su mi čno napramaposta vlja-nje raznolikih tipova na sta lih kao preobrazba izvornog tipa. U promatranju pre o bra zbe tipa može se primijetiti nekoliko pritisaka na okoliš: standardi zaštite od požara, antiseizmička struktura s većim FAR-om za trgovačke zone zbog koji je teško održati izvorni dvokatni drveni tip. Potreba za parkiralištem imala je velikog utjecaja na tretman ulične strane građevina. Ako je izvorni tip prva generacija, onda druga, treća i četvrta generacija mogu definirati razinu preobrazbe. Drugu gene-raciju odlikuje prilagodba no vim pritiscima na okoliš vezanim za održavanje drvene strukture. Jedna je otvorila prizemlje za parkiralište, dru ga je poput maske pokrila čitavu prednju stranu laž nom fasadom s uzorkom cigle. Četvrta generacija čini se vrlo udaljenom od izvornog tipa, tako da ljudi misle da se više ne radi o gradskoj kući, no to je još uvijek gradska kuća ako je gledate u slijedu preobrazbe. Ispi tali smo svaku zgradu (preko 1300 zgrada) duž ulice i sve ih mapirali različitim bo-jama. Mapa tako pokazuje odnos između različitih tipova na svakoj ulici. Jedan dio većinom pokriva prva, a ostalo pokriva druga generacija ili se radi o kombinaciji.Oris — Čitavo vrijeme mapirate promjene u dru štvu i go spo­darstvu pomću tipologije zgrada defini ra ju ći kra jo braz grada tim promjenama. ¶ BOW–WOW — Sva ka ko. To nije nešto što neposredno primje ćujemo, nego je ne što što se stvara u našoj glavi dok hodamo tom ulicom. Sada možemo predložiti petu generaciju gradske kuće u kontekstu preobrazbe tipologije. U Kanazawi putanja preobrazbe je jasna jer u gradu još uvijek vidimo izvorni tip, no u Tokyju je to malo teže. Unatoč tome moramo razmotriti tu vrstu okvira djelovanja da bismo mogli arhitektonski stvarati. Oris — Pokušavate li na neki način definirati urbano tkivo od dna do vrha? Je li to proces kojim, po vašem mišljenju, možete definirati strukturu grada? ¶ BOW–WOW — To istraživanje nam je omogućilo sagledati raz no likost gradskih kuća u nizu. Novi, drugačiji prije dlog arhitekata bez takvog okvira bi lako postao slabom novinom. Nas to ne zanima. Novi prijedlog bi trebao biti sjajan i sadržajan te aktivirati potencijal lokalnih arhi tektonskih resursa. Ako to ne učini, neće biti održiv.Oris — To me malo podsjeća na rodoslovlje. Može li se ta kva vrsta arhitektonske lingvistike primijeniti na me ta­bo lizam praznine tkiva predgrađa? ¶ BOW–WOW — Kuće ko je su projektirali moderni japanski arhitekti su naj za nim-lji vije. Mi radimo neovisno i samostalno, no na neki način

pokušavamo postići nešto slično. Počeo sam zvati ovaj ok vir ‘metabolizmom praznine’. Smatram da je to dobro jer arhi-tekti moraju kolektivno reći nešto o gradu, o urbanom krajo-brazu. Ako se pojedinačno razlikujemo jedan od drugog, mi kao struka nećemo u društvu imati nikakve moći. Značajka metabolizma praznine je međuovisni odnos između volumena i pra zni ne stvorene između zgrada. Volumeni zgrada ispi tu ju se kroz njihov utjecaj na kvalitetu praz nog pro sto ra, no i prazni se prostori također ispi tuju u smi slu njiho vog utjecaja na kva-litetu prostora unu tar volu me na. Niz povratnih informacija dok se ne nađe stabil no, uravnoteženo stanje između praznina i volumena je ose bujan proces metabolizma praznine. Sve fizičke kara kte ristike kao što su usko ili tamno, visoko i svije tlo, dugo i kratko dobro su integrirane u prostornu orga nizaciju i daju vlastitu vrijednost. Ni jedan prostor nije zloupotrijebljen. Studija o povratnim informacijama veza nim za međuovisnosti volumena zgrada i praznog prostora je proces utvrđivanja boljeg okvira djelovanja kako bi se svaka različita prostorna kvaliteta tretirala kao jednako vrijedna.Oris — Dakle govorimo o environmentalnim jedi ni cama. Vjerujete li da arhitekti u Japanu mogu raditi kao urbani kustosi u većem mjerilu? ¶ BOW–WOW — Sma tram da mogu. Poznate frazu ‘environmental unit’.Oris — Mislim da je ta ideja vrlo zanimljiva. To je razmi šljanje koje na grad gleda kao na organizam. Stva ri koje se ne čine očito povezanima na neki su način pove za ne u ekosustav urbanizma. Smatram da je ta poanta u pot pu nosti različita od neke vrste kontekstualizma, ver na ku lizma ili nekog drugog obli ka odnosa s ‘iz gra đe nim okolišem’ u arhitekturi. ¶ BOW–WOW — Na ideju ‘environmental unita’ velikog je utjecaja imao ‘envi ron mental world’ Uexkülla. On pokušava upo tri-je biti po stojeći element na lokaciji kako bi stvorio sa držajni

Kuća Sway, Tokyo, Japan, 2008.

Atelier Bow–Wow, Interview28 29oris, number 53, year 2008

One opened the ground floor for parking, another covered the entire frontage by a brick patterned false façade like a mask. The fourth generation looks very different from the original type then people think that it’s not a town house anymore. But it still is a town house if you see it in the sequence of trans-formation. We examined every building (over 1300 buildings) along the street and mapped them with different colours. This map shows the proportional appearance of different types on each street. One part is mostly occupied by the first gene ra-tion, and another is occupied by the second, or mixed.Oris — You are mapping the changes of society and eco­nomy through the building typology all the time, defining the cityscape through these changes. ¶ BOW–WOW —Sure. It is not something we see directly with our eyes, but it is something constructed in our mind by walking along this street. We can now propose the fifth generation of town ho-use in this context of typological transformation. In Kana-zawa, the trajectory of transformation is clear because we still see the original type in the city, but in Tokyo it is more difficult. But we need to discuss this kind of framework for architectural creation.Oris — Are you trying to somehow to bottom­up define urban tissue? So this is the process with which you can think you can define city structure? ¶ BOW–WOW —This research makes us able to see varieties of town house in a line of succession. New, different propositions by architects without this kind of framework can easily fall into poor newness. It is not interesting for us. New propositions should be delightful and meaningful, and activate the potential of existing local architectural resources. If not, it won’t be sustainable.Oris — It also reminds me a little bit of genealogy. Can you apply this sort of architectural linguistics to the void metabolism of the suburban tissue? ¶ BOW–WOW —The houses designed by contemporary Japanese architects are the most interesting. We work independently and individually, but somehow we are trying to achieve something similar. I started to call this framework ‘void metabolism’. I think it is good because architects need to say something about the city, about the urban landscape collectively. If architects are just individually different from each other, we architects won’t get any power in society. The characteristic of the ‘void metabolism’ is the interdependent relationship between volume and void produced between buildings. Building volumes are examined through their impact on the quality of void space, and void spaces are also examined from their impact on the quality of space inside the volumes. A series of feedback until it finds the stable, balanced condition between voids and volumes,

is the peculiar process of ‘void metabolism’. Any physical cha racteristic such as narrow or dark, high and bright, long and short, are well integrated in the spatial organisation and given its own value. No space is abused. The feedback study on interdependence between building volumes and voids is the process to establish a better framework to treat every different spatial quality as valuable.Oris — So we are talking about environmental units. Do you believe that an architect in Japan can work as an urban curator on a larger scale? ¶ BOW–WOW —I think so. You know the phrase ‘environmental unit’!Oris — I think this idea of ‘environmental unit’ is very in­teresting. It’s a kind of thinking which sees the city as an

(ABW)

Sway House, Tokyo, Japan, 2008

(ABW)

oris, broj 53, godina 2008

set okoliša. Arhitektura služi kao ljepilo za spaja nje razli čitih stvari koristeći se svojim organskim svoj stvom pri rode. To je okoliš stvoren putem teorije iskoristivosti prije nego teorije gradnje. Naš interes leži u ekosustavu stvorenom tim načinom razmišljanja, no u isto vrijeme i mutacijom arhitektonske for-me u ovom okruženju - ‘environmental unita’.Oris — Dakle, vi smatrate da je budućnost arhi tekton ske djelatnosti sve usmjerenija na izvan strukovna iskustva, od no­s no da arhitektura postaje sve otvorenija u smi slu koor dinacije između drugih disciplina u svr hu planiranja i pro jektiranja. ¶ BOW–WOW — Da. Vjeru jemo da se u tom pro ce su još uvijek mogu pojaviti indi vi dualni karakteri. Do 80-ih godina prošlog stoljeća arhi tektonski dizajn u Japa nu bio je previše orijentiran na pristup okrenut sebi: što sam ja, što si ti, što je moja arhi-tektura. To se moglo dogoditi zbog gustoće uvjeta u Japanu u tom trenutku. Sada je vrijeme globalizacije i smatram da bliskost u manjoj zajednici gubi svoju pou zdanost, tako da smatram da arhitekturu moramo više otvoriti prema igri sa svime što postoji u ovom svijetu.

30 31oris, number 53, year 2008

organism. Things which do not seem related obviously are somehow related to this ecosystem of urbanism. I think that this point is quite different from some kind of contextualism or vernacularism, or some other form of relating to ‘build envi ronment’ in architecture. ¶ BOW–WOW —The idea of ‘environmental unit’ is very much influenced by the ‘envi ron-mental world’ by Uexküll. It tries to utilise existing ele ments on site to form a meaningful set of environment. Architecture acts as a kind of glue to connect different things on using its organic property of nature. It is the environment formed through the theory of usability rather through the theory of construction. Our interest is in the ecosystem produced by this thought and same time on the mutation of architectural form in this setting of ‘environmental unit’.Oris — So you think the future of architectural practice is related more towards outer practices, becoming more open in terms of coordination of other disciplines and everything together, meaning in the terms of planning and design? ¶ BOW–WOW —Yes, and we believe that individual character can still appear in this process. Until the 1980s, the archi tec-tural design in Japan was too oriented to a self-orientated appro ach, what I am, what you are, what my architecture is. It could happen because of the closeness of domestic conditions in Japan at that moment. Now it’s the time of globalization and I think that closeness in a smaller community loses its reliability so I think we have to open architecture more to play with everything existing in this world.