Pasadena Heights project page, building & design pages. Thus Kikutake’s challenge — and ultimate source of inspiration — was not only to produce a handsome building but also to devise a construction process that resonated with his clients’ familiarity with wood construction at every stage. The Administration Building is sited just to the west of the Grand Shrine’s ceremonial north-south approach road: it is one of a series of subordinate structures visitors encounter on their path to the main shrine. The outcomes were various. Kiyonori Kikutake studierte an der japanischen Waseda-Universität und promovierte 1950 im Hotel Sofitel, Tokyo, Kiyonori Kikutake (1994). Architects imagine the planet: fifty speculative world-scale projects from Patrick Geddes, Alison and Peter Smithson, Kiyonori Kikutake, Juan Navarro Baldeweg, Luc Deleu, and others. You can change your preferences at any time. Kiyonori Kikutake (菊竹 清訓, Kikutake Kiyonori) (April 1, 1928 – December 26, 2011) was an important Japanese architect.He start the Japanese Metabolist group of architects. Today he is largely unknown. KIKUTAKE Kiyonori Hartmut Pohling 2020-11-25T01:21:32+01:00. In the case of corner rooms, there is a double-cantilever, its transparency expressing the lightness Kikutake sought. On the other hand, leading architects — Tange, Maekawa, Taniguchi, and others — used wood assembly techniques as inspiration for expressing similar delicacy and lightness in concrete, while also investigating the dimensional limits specific to engineered concrete, both poured-in-place and precast (and frequently interweaving the two systems). And more: the Grand Shrine is at the northern edge of Izumo City and abuts hundreds of acres of protected forests and mountain preserves. Despite the seriousness of purpose with which Kikutake explains his early projects, it is easy to imagine that the architect viewed his Tōkōen project as a bit of a design playground — a place where he and his team could freely experiment. April 1928 in Kurume, Japan; † 26. mimari, lebbeus woods, japon mimarisi hakkında daha fazla fikir görün. While his symmetrical structural parti places columns at the center of both east and west facades, Kikutake creates a dynamic ground-floor spatial sequence by displacing the entrance to the north and locating stairs and elevators to the south of their respective facades. Image: Kirakirameister / Wikimedia Commons, CC-BY-SA 3.0 Japanese architect Kiyonori Kikutake’s Sky House (1958) remains an exemplary project that defines the Metabolist agenda but, more significantly, underscores the notion that a single-family dwelling can be ideologically recursive and strategic. The Metabolist urban visions proposed by Kikutake unfailingly emphasized the incomplete nature of the city as a perpetual work-in-progress. The roof of the Administration Building consists of a pair of parallel concrete ridge beams supporting a series of precast roof slabs between them. Matsui’s key innovation in achieving this astonishing slenderness was to pre-stress the concrete beams using a then relatively new technique: embedding pre-tensioned reinforcing cables into the formwork prior to the concrete pour, then releasing this tension once the concrete has cured. Before exploring two early works that illustrate the virtues and challenges inherent in Kikutake’s approach to construction, it’s important to consider the general state of building technology in 1960s Japan. Extending his ideas about flexible interior space, Kikutake saw the presence of conventional structural elements within the guest rooms as incompatible with his mandate to establish an intimate connection to landscape, and so — as he had already done at Sky House and other smaller-scale precedents — the hotel’s primary concrete frame structure was banished to the exterior. Predictably, the guest room floors have been altered over the past half-century, but for the most part they remain true to the architect’s vision of lightweight interiors inspired by Japanese ryokan (traditional inns constructed in wood). Japanese architect Kiyonori Kikutake’s Sky House (1958) remains an exemplary project that defines the Metabolist agenda but, more significantly, underscores the notion that a single-family dwelling can be ideologically recursive and strategic. The World as an Architectural Project shows how for more than a century architects have imagined the future of the planet through world-scale projects. April 1928 in Kurume, Japan) ist ein über die Grenzen Japans hinaus bekannter Architekt und hat weltweite Beachtung, insbesondere als Vertreter des Metabolismus, gefunden. This technique — then elatively new in Japan though now common —allows acute bending and tensile stresses to be resisted by the steel core, while the surrounding concrete not only provides additional support in compression but also fireproofs the steel. 菊竹 清訓, Kikutake Kiyonori; * 1. Certainly it is a great work of architecture: nowhere are Kikutake’s powers of imagination more evident than here in his synthesis of symbolic, technological, and spatial-experiential facets into a unique work. The precast concrete ribs are custom-designed and shaped for attachment via welding to plates embedded at regular intervals along the ridge beams, as well as for the attachment of subsequent layers of concrete louvers. After graduating from Waseda University in 1950 Kikutake completed two housing projects and a cultural center. The post Sky House / Kiyonori Kikutake appeared first on ArchEyes. Matsui cited a famous icon of Shinto architecture — the torii gate of Itsukushima Shrine — as a precedent. Architects imagine the planet: fifty speculative world-scale projects from Patrick Geddes, Alison and Peter Smithson, Kiyonori Kikutake, Juan Navarro Baldeweg, Luc Deleu, and others. It was not unusual, for example, for the first effort to incorporate a new technique into his architecture to start at a small scale, as a test, only to be used more daringly at larger scale in subsequent designs. In this light, it is tempting to detect in the work of Kikutake a kind of “loose fit” between individual projects, their specificities (site, program, budget, schedule), and their applied construction techniques. Buddhist temple roofs differ from Shinto construction in that their ridge beams are not typically supported directly on end posts, but rather on a more complex hierarchy of transfer beams below. 菊竹清訓先生のご冥福をお祈りいたします。. No doubt the special atmosphere of postwar Japan was a factor. Due to the self-weight of robust horizontal spanning elements, maximum spans tended to top out at ten to twelve meters in ordinary concrete construction; this was significantly smaller than what was possible in steel construction. 5 His writings and works invite further attention precisely because they are not glib or simplistic but rather fully articulated statements of a worldview encompassing aesthetics, politics and economics, land use planning, technology, and human psychology. Yet even in a nominally timeless site such as Izumo, no work of architecture can stop the clock or escape taking on new readings over time. The best among them — which include many works beyond those analyzed here — contain experiential riches that can only be fully appreciated in person. Apr 29, 2015 - Kiyonori Kikutake, the architect, who has died aged 83, was the driving force behind Japan’s Metabolism movement, notable for audacious city … Toku’un-ji Temple Ossuary 徳雲寺 納骨堂 Architect: Kiyonori Kikutake 菊竹清訓 Location: Kurume, Fukuoka, Japan Completion year: 1965 May great architect Kiyonori Kikutake’s soul rest in peace. Much attention has been paid recently, for example, to the architect’s claim that the impetus for his lifelong interest in water- and sky-based urbanization arose from his anger at the land reforms instigated after World War II, through which his family lost its lands and hereditary place in local society. The project still stands out as a … Particularly noteworthy in relation to the overall spatial-structural concept are the corollary decisions to provide an open-air terrace at the fourth-floor level and to locate an entire floor of closed storage rooms on the seventh floor. Years ago, when replacement glazing was installed on the fifth and sixth floors, the slender concrete slab edges were also clad in aluminum panels to protect against further deterioration — a well-intended but aesthetically disappointing revision. To enhance seismic resistance, the overall structure would be designed as a steel-reinforced concrete frame — that is, its columns and beams would be erected first as a structural steel frame, then encased in concrete. Each tensile member consists of two steel rods spaced at four-meter intervals along the girder length, hence breaking its twelve-meter major span into three smaller spans. –1956. Introduction undefined This is one of the first projects undertaken by architect Kiyonori Kikutake (1928-2011), one of the founders of the movement Metabolist Japan. Mark Mulligan is Associate Professor in Practice of Architecture at the Harvard Graduate School of Design. 1 Though frequently referred to as a manifesto, the pamphlet was in fact a collection of essays and urban design projects by architectural critic Kawazoe Noboru and four young architects then launching their practices: Kiyonori Kikutake, Kishō Kurokawa, Fumihiko Maki, and Masato Ōtaka. The imposing scale of the four-story-tall grouped columns, exposed on the western entrance facade, is mediated by the addition of smaller, free-standing entrance canopy structures in the same language of post-and-beam, cedar-board-textured concrete. Last year the museum’s architect, Kiyonori Kikutake, marked his 80th birthday by opening up another one of his projects, his own house, to a selected group of friends and visitors. 菊竹清訓; * 1. He advocated beginning a design not with a preconceived program — a list of rooms — but with questions about how one relates to, and lives among, one’s surroundings. It seems clear to me that Kikutake was not attracted to the idea of completeness in architecture; that he had both an intellectual and aesthetic preference for incomplete, open-ended, and even unstable architectural form. The concrete formwork has been carefully considered, using cedar boards to imprint wood grain permanently into the concrete surface and imbuing the whole with a sense of fine craftsmanship. With the criticism on their unreality, his projects have been often treated like sci-fi comics. 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