Made in Tokyo

MOMOYO KAIJIMA JUNZO KURODA YOSHIHARU TSUKAMOTO

MAD E. . I

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urs Papin

!.li.l!.lf~ Rie Shiomi

li* EEI!II Yoshlharu Tsukamoto

heli-warehouse

li.l!.lf~ Ale Shiomi

28

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jf i! Hirom ichi Yanagi

~*~jC'f Yuklko Arak i

31

Shun Takagi

sports bridge

sportsman zoo

*f*l~$ Yasushi Ouchi

=- Marika Neustupny li* El31111 Yoshiharu Tsukamoto

~ !f ~ Aklra Yasuno

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~~~- Akio YasUmori

~

Shun Takagi

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Junzo Kuro da

royal golf apartments

supply wat er cou rt s

se x bu i lding

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r*::J-~ se wag e courts

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neon building

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when returning from Europe. Roads and trainlines run over buildings, expressways wind themselves over rivers, cars can drive up ramps to the rooftop of a 6 storey building, the huge volume of a golf practice net billows over a tiny residential district. Most major cities of Europe are still using buildings from previous centuries, and are not modernised in terms of renewing actual building stock. By comparison, almost all buildings in Tokyo have been built within the last 30 or 40 years, utilising contemporary technologies. These technologies have formed a background to the appearance of compositions

and

functional

combinations, unthinkable in the traditional European city. What is it about this city of Tokyo, which can allow such unthinkable productions? How have we managed to arrive at such a different place to European modernity despite being equipped with the same building technology? But one week later, these sorts of questions disappear from my mind, together with the feeling that something is wrong.

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name su c h coherent environments of adjacency

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discussing part ic ular cities and architectures. They have concrete origins in a specific place, and yet in the end they lead towards an abstract level, which can open new architectural and urban awareness. What kind of awareness will be opened up by the buildings made in Tokyo?

From towards < Bu ildi ng> The bui ldings of Made in Tokyo are not beautifu l. They are not perfect examples of architectural planning. They are not A-grade cultural bu ilding types , such as l i brar ies and museums. They are 8-grade bu ilding types, such as car parking, batting centres, or hybrid containers and include both architectural and civil engineering works. They are not 'pieces' designed by famous architects. What is nonetheless respectable about these buildings is that they don 't have a speck of fat. What is important right now is constructed in a practical manner by the possible elements of that place. They don 't respond to cultural context and history. Their highly econom ically efficient answers are gu ided by minimum effort. In Tokyo, such direct answers are expected. They are not imbued with the scent of culture ; th ey are simply physical 'building'.

Moreover, Tokyo is really such a contradictory place, because it is in fact these buildings which most clearly reflect it's quality of urban space, whereas the translation of issues of place through history and design seems like a fabrication This is Tokyo. Where cultural interest is lol'{, interest in practical issues is high. Whether civil engineering structures, rooftops, walls or gaps between buildings, utilise whatever is at hand. What is important is the discovery of how to establish a second role to each environmental element. With this doubling up, it becomes possible to re-use spatial by-products. The material is not given, but is discovered through our own proposition of how to use it. It might be termed 'affordance' of the urban environment. Further to this, cross categorical hybrids such as expressway-department stores can arise. In this example, the department store depends on the expressway for its structure. On the other hand, the expressway depends on the department store for its val idity in such a busy commercial area . So ne i ther can ex ist on their own - they are interdependent. Suc h existence seems anti-aesthetic, ant i-h istor ic, antiplann ing, ant i-classification. It releases the architecture of

01 2

Made in Tokyo are not necessarily after such ends, but they

'Environmental Units'.

simply arrive at this position through their desperate

Furthermore, the external envelope does not act to divide

response to the here and now. This is what is so refreshmg about them.

ubl ic and private, as in the traditionally understood idea of :facade. We are in a fluid situation, where rigid distinctions such as between shallowness and depth or front and back,

Adjacency and ' Environmental Unit'

are eas i ly overturned by a shift in the setting of the

Our interest is in the diverse methods of mak ing and using

ecological un it.

coherent environments within the city, together with the

The magnificent Arch itec ture of Ar chi tects retains

.

urban ecologies seen there. This incl udes the unexpected

dist i nctions between categories, rationalises physical

. crea t ed bY cross categorical hybrids, adjacency of function

structure, pushes preconceived use onto that structure, and

the co-existence of unrelated functions in a single structure,

tries to be self-contained . Th is is even though there are so

the join t utilisation of several di ffer ing and adjac ent

. ways to define environmental unities. It IS a many diverse

buildi ngs and structures, or the packaging of an unusual

method that Modernism has passed down to us, and the

urban ecology in a single building.

. . 0 fl'ts ways is becoming stronger and stronger. . . Yet, preCISIOn

In Tokyo's urban density, there are examples of a coherency

everyday life is made up of traversing various buildings.

which cross over categorical or physical building boundanes.

Living space is constituted by connections between vanous

It is something which differs from the architecture of self-

adjacent environmental con ditions, rather than by any smgle

standing completeness. Rather, any particular building of

building. Can 't we draw out the potential of th is Situation

th is kind can perform several roles with in multiple urban

and project that into the future ? If we can , it may be

sets. They cannot be specifically cl assified as architecture,

possible to coun ter the typical Japanese Modernist public

or as civil engineering, city or landscape . We decided to

facilities which are cut off from their surroundings and 013

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bridge' home

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family restaurant triplets

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coolroom estate

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