A collection of photos from Sendai during our two week travel seminar with Mayuko Imai.
A collection of photos from Sendai during our two week travel seminar with Mayuko Imai.
The following are diagrams generated prior to our midterm review, they are serving as a basis for our studio projects through the semester. We are focused generating a deep knowledge base from the large city scale down to the smaller block scale. This is allowing us to continually think critically about our design decisions and to know that our design propositions of a future Tokyo are grounded in reality.
Tokyo is a city famous for its size, its modernity, the scale of its structures and the pace of its (re)construction. Like any major world city, mega-structures are continually built within of existing neighborhoods, newly available land and ever-expanding urban boundaries. At the same time, like many cities of its size, Tokyo is also a city of the small, the old, the precise, the intimate and the specific. It is saturated with intimate spaces, small structures, familiar neighborhoods and unique experiences. How can we participate in a city of this immense size and complexity with interventions at the small scale?
Perhaps an apt metaphor (along with those of city-as-machine, city-as-organism, city-as-cluster, city-as-fractal, city-as-network, city-as-spectacle…) would be from the emerging network theory of cloud computing. Influence and power (effect) from great number inter-connected smaller units, temporarily working together to participate in a specific event. What might be the effect of that way of considering architecture in Tokyo? What sort of vision for the future of the city does that model suggest for this specific location?
Tokyo Focus is the product of a two week workshop were students from different backgrounds and universities got together to produce a short film. The film is comprised of two major components. First an architectural analysis and selection of site was key in generating an atmosphere and contextual backdrop for the film. Second the technological component/theoretical device supplied by one student was to be implemented as the activator or driver for the site intervention. The goal of the film was to speculate about and realize potential capabilities of the technology and its effects and usage as they would develop given the characteristics of the sites spacial surroundings.
Technology: Augmented Reality
The concept behind the technology is to take the site of Yokohama, with all its historical importance of how it adapts to the 21st Century technology. While combining the past, present, and future to technology used today, spatial experience can be more interactive and tangible. This is a general concept called mediated reality in which a view of reality is modified even diminished rather than augmented. As a result, the technology functions by enhancing one’s current perception of reality. The brick taken from the Red Brick Building on the shore can be seen as a portal or a hub that collects data inputted by people at the location. Information can be shared and collective data can be extracted to create a network of personal experiences.
Technology: Radiant Film Clad PVC Panel
The team focused on the potential communicative abilities of this technology. Given the vast difference in age and type of people that activate the site it seemed a suitable place for the transfer of information about past, present and future events in and around the area. The panels with an intelligence could begin to act like large signs or individual pixels that together create large displays of information. The majority of the film uses camera angels that are taken from the perspective of the panels as they are imbedded in the stone walls of the site.
The film uses the line as a element tracking time and proximal relationships. It begins with individuals navigating the site, a sort of collision detection map, and how this has evolved particular to Tokyo and Marunouchi. The next interest was to establish a historical contextual link. The reintroduction of water would provide both a phenomenological spacial experience as well as that historical link. Using these our a base and noticing how this site underwent so many changes in recent history, our goal was to make this a self evident part of experiencing the site. The site circulation would remain intact underground. The metro being an integral Tokyo experience. The buildings would be underneath the surface of water, as they become occupied each would expand to accommodate the occupants, allowing the surge of population to transform the physical, a reciprocal relationship between the swarm of people and the boundaries of the site. From the vantage point of a neighboring street one would literally see the transformation from body of water to city and back to body of water. In a 24 hour period, witnessing both the evolution of the site as well as the cyclical nature of cities.
Technology: 3D projection Mapping / Digital Reaction Sensory
Akihabara was once known as the electric city up until the 1990ís. Around this time all of the electric department stores started to cover the city and Akihabara diminished and lost its face as electric parts could now be found anywhere. With a sudden identity crisis, the face of Akihabara started to change to a new upcoming culture of Otaku which over time has taken over Akihabara and is now in full effect. As the group visited Akihabara, key points of the culture and area were taken in and processed to determine what would be the future of this place. Otaku is an interesting culture in that they place a huge emphasis on the female virtual character. They are obsessed with the virtual world and actually imagine the girls placed within these virtual worlds to be their girlfriends. So when you compare a person who lives and is ìnormalî with customs of seeking a girlfriend who exist in the real world we find an interesting thing happening in Akihabara. It is in fact where the fantasy world of Otaku meets reality and is introduced to the real world. We look to capture in this video the events of one of these characters going back and forth between reality and fiction and the activities going on within each specifically to Akihabara.
Technology: Visualization of Sound
We live our lives within invisible bubbles. The size and shape of our individual bubble is dependent upon our own comfort levels. Within a crowded space amongst strangers our bubble might tend to be tightly fit. On the contrary, a pleasant walk through an empty field with a loved one might allow our bubble to expand. The bubble is an invisible barrier between us and them. Through the “Music Visualizer” the bubble can finally be perceived. The bubble becomes a physical interface between us and sound. A communication device that finally allows us to see with our ears.
The bubble becomes a commercial filter. For the sake of clarity, we assigned the same 3 colors (red, green, and yellow) for each individual. Red represents stimulation, green for transportation, and yellow for necessity. The user then programs their bubble to respond only to the stimulus, transportation, and necessities they want. If they do not want it, they would not hear it. The bubble eliminate billboards and intrusive advertising, making sound the new seller. Imagine you have programmed your bubble for jeans, trains, and italian food. Your bubble will only activate when you are around jeans, trains, and italian food. The size and shape that your bubble takes on will inform you of proximity and direction. The more the bubble is used the more information it gains and the more information it sends out. If the user likes Italian Food then they might also be interested in Japanese/Italian fusion. The sound frequency between Italian food and Japanese/Italian fusion would share more similarities then Italian food and Mexican food. Due to the Bubble, architecture must respond with a new building type that is more aware and responsive to sound.
Technology: Programmable Matter
This proposal suggests the modification of permanent infrastructure of the area into temporary programmable matter. All layers of structure can then be assembled and disassembled within selected sites or spaces instantaneously. According to user demand, the matter can be formed into restaurants, fishing docks, transportation pods, or mobile expressways, or other, all compiled within programmable modules according to predetermined magnetic layouts and substructure lines (preexisting magnetic paths/tracks). These modified layouts could spread throughout the river network causing new formations and deformations across the city.
The power of design is placed in the individual’s hands as they create their own modified forms and customized spaces.
Technology: Architect and User based input and output infrastructure
We were interested in a new method of experiencing the y-jiro. When one arrives at a y-jiro they are subjected to a choice, one must choose a path and forget about the others. Our movie explores the experiencial possibilities that exist when one can travel multiple geographic locations at the same time. This experience laced with an interactive environment provided by our technology results in a new way to exist in an architectural landscape.
Yotsuya has, for its long history, always been a place passed through. From the salt traders of Edo to the trolleys and commuter trains of modern day, it has remained not a destination but a waypoint; a place characterized by the movement around and not within. But as this movement around the essence of this place intensifies, nothing will be lost. Instead, its identity will only grow and become better defined. In other words it will remain Yotsuya, still.
This post is long overdue, but the following images take you from our apartments in Shin-Otsuka to our studio space in Ichigaya. It is a 20 minute commute every morning. It is a change of pace from the Los Angeles freeways, gas stations, traffic jams, and stop lights. We have replaced those with subway stations and trains.
We have a great space to work in with excellent views of the Ichigaya area. The season is beginning to change to fall and we are looking forward to experience another of Tokyo’s seasons.
Tarkovsky, Andrei. Solaris. 1972.
Kurosawa, Akira. Rashomon. 1950.
camera work, contrast
Resnais, Alain. L’Année dernière à Marienbad. 1961.
Pixar. Tokyo Mater. 2009.
Takahashi, Nobuo. Musashino Plateau. 2007?.
computer generated landscape
Ichikawa, Kon. Tokyo Olympiad. 1965.
Japan’s high-growth period
Olympus. The PEN Story. 2009.
Riefenstahl, Leni. Olympia. 1938.
neo classic figure, camera work
On Saturday, September 18th, the Tokyo Game Show opened its doors to the public. Unlike E3, the Tokyo Game Show has four days of events. The first two days are industry only and the last two days are open to anyone and everyone that’s interested.
Lucky for us, we got time off over the weekend and were able to go down to the Makuhari Messe International Convention Complex where the event was being held. From the central area where the majority of us live we left from the Otsuka Train Station via the JR Yamanote, transferring at Tokyo Station (an airport sized hub of a train station, gigantic is an understatement, it’s like a city in there) and jumping onto the JR Keiyo with the final stop at Kaihin-makuhari. That’s an 82 minute train ride through a very scenic route that was highly enjoyable and saved money at the same time by staying within the JR line and not having to leave any of the stations to transfer railway lines.
Tickets were cheap at 1,200 JPY at the door (approximately $14.06 US). We were greeted after buying our tickets with a map of how big the actual place was. Eight (huge) halls of pure game floor madness. We wandered around on the top level for a bit peeking in over the top of each hall (which was open to reentry only via previous handstamping) and down into the bright lights and shifty globs of people before figuring out how to get down to the real entrance below and outside.
Finally we found it. After our long trek from the hour and a half train commute followed by our mile trek to the convention center, there it was, a truly beautiful sight to behold, The Shining Golden Gate Entrance of Gaming Magnificence. After passing through the golden beauty, our first sights were that of sheer chaos via the copious amounts of people, crowded gaming booths with lines pouring out of them and into other booths into an elaborate tangled mess of organized madness, general game related festivities, and of course it all came complete with cosplay and anything and all things related to gaming media showcase heaven.
The event held a wide variety of things to see and do, with not enough time to enjoy each and every one. A long but successful and engaging trip. A show that will forever remain another part of the fantastic whole that makes Japanese culture so unique and interesting to us all.
(All photos except those with photo credits mentioned are by Brian Pace.)