By Souto De Moura
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Extra info for Catalogos De Arquitectura Contemporanea
No matter how substantial the walls are in reality, their visual 39 weight is zero. Genealogies and Tendencies Jun Aoki, Fukushima Lagoon Museum, Niigata, 1997 Sejima and Nishizawa, for example, regularly apply graphic patterns to glass: text on the walls of the Kumano Kodo Nakahechi Museum (Wakayama, 1997), dots on the roof of the Gifu Multimedia Center (Gifu, 1996), leaves wrapping the Koga Park Cafe (Ibaraki, 1999). These applied textures are obviously decorative, and it is here that the work becomes the most contradictory and disturbs one of architecture’s most fundamental dichotomies: the relationship between structure and ornament, essential and auxiliary.
These differences in approach are no doubt related to their respective backgrounds. Aoki was an employee of Arata Isozaki from 1983 to 1990, the height of his postmodernist period (from the Michelangelo41 inspired Tsukuba Center building of 1983 to the Mickey Mouse–inspired Genealogies and Tendencies left: Jun Aoki, U, Tokyo, 1997 (unbuilt), plan right: Toshiaki Ishida, T2, Tokyo, 1997 opposite: T2, unfolded elevations Team Disney Orlando building of 1991), and has absorbed a mannerist interest in the pastiche of styles and forms.
The rooms may be small and intimate but never confining; they may be large and generous but never intimidating. ” The prioritizing of scale begins to explain the two recurring features of Sakamoto’s designs that might actually be described as stylistic motifs: walls as open grids of timber shelving, exemplified by the House in Nago (Chigasaki, 1978) and Hut T (Yamanashi, 2001); and floors as gently stepping terraces, exemplified by the House in Imajuku (Yokohama, 1978) and House SA (Kawasaki, 1999).
Catalogos De Arquitectura Contemporanea by Souto De Moura