Architecture

 

Architects: Kengo Kuma & Associates
Location: Hokkaido Prefecture, Hiroo District, Taiki, Memu, Japan
Project Architect: Kengo Kuma, Takumi Saikawa
Client: LXIL JS Foundation
Structural Engineering: Yashushi Moribe (Showa Womden’s University)
Area: 79,5 sqm
Year: 2011
Photographs: Courtesy of Kengo Kuma & Associates

 

 

 

We were in charge of the first experimental house, and in the process of designing, we got a number of clues from “Chise,” the traditional housing style of the Ainu. What is most characteristic about Chise is that it is a “house of grass” and “house of the earth.” While in Honshu (the main island) a private house is principally a “house in wood” or “house of earthen wall,” Chise is distinctively a “house of grass,” as the roof and the wall are entirely covered with sedge or bamboo grass so that it can secure heat-insulating properties. Also, in Honshu the floor is raised for ventilation to keep away humidity, whereas in Chise they spread cattail mat directly on the ground, make a fireplace in the center, and never let the fire go out throughout the year. The fundamental idea of Chise, “house of the earth,” is to keep warming up the ground this way and retrieve the radiation heat generated from it.

 

 

Here is how section of the house is structured: We wrapped a wooden frame made of Japanese larch with a membrane material of polyester fluorocarbon coating. Inner part is covered with removable glass-fiber-cloth membrane. Between the two membranes, a polyester insulator recycled from PET bottles is inserted that penetrates the light. This composition is based on the idea that by convecting the air in-between, the internal environment could be kept comfortable because of the circulation.

 

We do not treat insulation within the thickness of heat-insulation material only, which was a typical attitude of the static environmental engineering in 20th century. What we aim at is a dynamic environmental engineering to replace it for this age. That we utilize the radiant heat from the floor is part of it, and it has been verified that you could spend several days in winter here without using floor heating. The other reason we covered the house with membrane material was our longing for a life surrounded by natural light, as if you were wrapped in daylight on the grassland. Without relying on any lighting system, you simply get up when it gets light, and sleep after dark – we expect this membrane house enables you to lead a life that synchronizes the rhythm of the nature.

 

 

 

In one part of the house, a wooden insulated window sash is installed external to the membrane. It is a new device to monitor the living environment of the house by changing various types of sashes. Likewise, all glass fiber cloth in the interior can be removed so that we can continue many kinds of environmental experiment.

 

 

 

 

Amongst many other interesting moments in Siobhan Roberts's new biography of Alan Davenport, the "father of modern wind engineering," is the incredible story of a room in Eugene, Oregon.

In August 1965, Roberts explains, "ads in the local newspaper... promised complimentary checkups at the new Oregon Research Institute Vision Research Center." But these promised eye exams were not all that they seemed.

The office was, in fact, a model—a disguised simulation—including a "stereotypical waiting room" where respondents to the ad would be "greeted by a receptionist" who could escort them into a fake "examination room" that turned out to be examining something else entirely.

While members of the public were led through a series of eye tests, looking at "some triangles," in Roberts words, that had been projected onto the wall, they were, in fact, being jostled back and forth, silently and unannounced, by motors installed on tracks below the floor. The room swayed, rocking side to side, shifting imperceptibly—or so the experiment was testing—beneath the feet of the volunteers and the actor-nurses who, without breaking character, took care of them.

It turns out that the whole thing was actually a wind-condition simulator for a pair of buildings that had not yet been publicly announced, let alone constructed: the future twin towers of New York City's World Trade Center. This quiet office in Oregon, paid for by the Port Authority, was an unpublicized test-run for the high winds and other complicated atmospheric effects that would soon rock the two towers back and forth at their unprecedented height in southern Manhattan.

The room, "mounted on a wheeled platform driven by hydraulic actuators," thus tested unsuspecting members of the public for their physiological reaction to the swaying of the floor—testing whether "conflicting brain inputs" from the moving architecture "would cause synaptic confusion, or motion sickness—nausea, dizziness, fatigue," as Roberts writes.

Unbeknownst to them, then, people in Eugene, Oregon, in 1965, were helping to test the aerodynamic flexibility of two buildings that had not yet been announced and that would soon come to dominate the skyline of New York City—leaving at least me to wonder if some room today somewhere, some doctor's office or other nondescript chamber, whether a classroom or a restaurant, is actually a testing ground for as-yet unrealized architectures to come, be it in New York City, Dubai, Mexico City, or, who knows, even for future travelers to the moon.

(Thanks to Nicola Twilley for giving me a copy of Roberts's book).

 

 

INABA has completed Skylight, a permanent installation for KORO Public Art Norway. The 6.6 m (22 ft) diameter, 11.5 m (38 ft) long structure hangs from the foyer of the New Concert Hall in Stavanger, Norway. It is visible from the adjacent public plaza, and surrounding neighborhood and harbor, serving as a light beacon for the complex. Responding to the region’s extreme atmospheric conditions, Skylight emits a range of pure color light patterns that contrast and complement the blended luminous tones of the dawn and twilight Nordic sky. Conceived of as an inverted chandelier, Skylight’s light fixtures are mounted to face inward and illuminate the structure’s interior surface. Its programmable LED system is animated to change in brightness and hue, and produce distinct patterns during arrival, theater calls, intermission, departure, and after hours.

 

 

 

Skylight is based on a simple cylinder. Areas along the surface of the cylinder were removed to create views from the five-stor.