Transcript - The Archi Blog

ARCHITECT SEMINAR
PRESENTED BY :
JITENDRA AERAN
B. ARCH. IV
061015
Kisho Kurokawa
Born in Nagoya in central
Japan in 1934
President, The Japan Society of
Landscape Design
Advisor, Prime Minister of the
Republic of Kazakhstan
President, KKAA (Kisho
Kurokawa architect &
associates)
Graduated Kyoto University, B. / Arch. Course, Department of Architecture (1957),
Tokyo University, M. / Arch. Course, Graduate School of Architecture (1959)
Tokyo University, Dr. / Arch. Course, Graduate School of Architecture (1964).
His publication
Urban Design
Homo Movens
Thesis on Architecture I and II
The Era of Nomad
Philosophy of Symbiosis
Hanasuki
Poems of Architecture
Kisho Kurokawa Note
Revolution of City
“Philosophy of Symbiosis", which was awarded the Japan Grand Prix of
Literature, was first published in 1987 and was revised in 1991. The book
was cited Excellence from the AIA in 1992.
In 1960, at the age of 26, he made his debut into the world as one of
the founders of the Metabolism Movement.
Since then, he has been advocating the paradigm shift from the Age
of Machine Principle to the Age of Life Principle.
Philosophy
His concept he advocated such as Symbiosis,
Metabolism, Information, Recycle, Ecology,
Intermediate Space, Fractal, Ambiguity.
All are important concept based on Life
Principle
His major works
the National Ethnological
Museum
Osaka International
Convention Center
Nagoya City Art Museum
Kisho Kurokawa’s Dinosaur
Museum in Katsuyama
Helix City
The Museum of Modern
Art, Wakayama
The tower of the Pacific,
Paris-Defense (1993)
Flower Hill Museum (1999)
Nagakin Apartments(1972)
The Japanese Nursing
Association Building
National Art Center, Tokyo (2006)
Maggie`s Centre,
England(2006)
National Art Center
Roppongi, Tokyo
Design / Construction:2000-2006
National Art Center, Tokyo is a perfect expression of his philosophy of
symbiosis.
"One of my intentions with the design was to be fuzzy. Great art and
architecture should be fuzzy. If it is easy to understand, it is functional
like a factory. People can say, 'this is the entrance way, this is the exit.'
But this is not art. I wanted to create ambiguity and a
little bit of confusion. This is what makes people
think, or takes them into a maze."
The fuzziness Kurokawa talks about
can be seen in the wavy line of the art
center's facade. He has created a
melodious surface that is, like waves
or hills, harmonious but never
repetitive.
Building Area :
12,989sqm
Total Floor Area : 49,846sqm
2 basement floors + 6 floors
It is the largest exhibition space in a
single building in Japan. Around 15,900
square meters
It is intended to feature several large
exhibitions at once,
The facade itself is 100 percent transparent, but it also completely cuts
out the sun's ultraviolet rays.
Also extended the ironwood floor that is inside the building to the
area outside the facade. That makes people feel very ambiguous and
wonder whether they are inside or outside.
the real element of genius in this design remains the feature that will have the
strongest effect on visitors — the facade. As a perfect expression of the
symbiosis of exterior and interior, Kurokawa makes it work in both directions.
From the outside, its naturally undulating surface seems to react to the trees and the
wind, while from the inside, it seems to dance around two large inverted concrete cones,
which look like petrified tornadoes and are central to the functional requirements of the
building.
Floor made from extremely durable Ulin ironwood imported from Borneo, this floor is
designed to give the building an aged and even primitive texture that will exist alongside
its obvious modernity. This symbiosis of primitive and modern is further developed by the
use of wicker furnishings and a bamboo garden in a courtyard on the top floor,
contrasting with such hi-tech features as cleaning robots and light-saving motion sensors.
They wanted a restaurant and a cafe in the
atrium, so he decided to place them above.
To maximize the floor space below he simply
reduced the base of each structure, which
created the cone shapes.
The National Art Center, Tokyo will not be a space for archiving works of art, but is a space for
exhibiting public open exhibits and travelling exhibits.
The building is made up of seven enormous column-less display rooms, each 2000m², a library,
an auditorium, a restaurant, a cafe and a museum shop.
The jurying process for these types of exhibitions will begin in the basement, where works will
be brought in one by one at the loading area and only the pieces selected will be brought by
service elevator to the display blocks.