Little Big Models. The Tools of Japanese Architect Studios

CarlosL.Marcos Editor Graphic Imprints The Influence of Representation and Ideation Tools in Architecture Carlos L. Marcos Editor Graphic Imprints The Influence of Representation and Ideation Tools in Architecture 123 Editor Carlos L. Marcos University of Alicante San Vicente del Raspeig, Alicante Spain ISBN 978-3-319-93748-9 ISBN 978-3-319-93749-6 (eBook) https://doi.org/10.1007/978-3-319-93749-6 Library of Congress Control Number: 2018944358 ©Springer International Publishing AG, part of Springer Nature 2019 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. 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Printed on acid-free paper This Springer imprint is published by the registered company Springer International Publishing AG part of Springer Nature The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland Organization Committee Scientific Committee Ángela García Codoñer Universidad Politécnica de Valencia Anetta Kepcynska-Walczak Lodz University of Technology Antonio Millán Universidad Politécnica de Cataluña Bob Martens Technische Universität Wien Dana Matejovska Czech Technical University in Prague Eduardo Carazo Universidad de Valladolid Emma Mandeli Universitàdi Firenze Emanuela Chiavoni UniverstitàLa Sapienza di Roma Enrique Solana Universidad de Las Palmas Ernest Redondo Universidad Politécnica de Cataluña Ernesto Echeverria Universidad de Alcaláde Henares Henri Achten Czech Technical University in Prague Javier Raposo Universidad Politécnica de Madrid Jorge Llopis Universidad Politécnica de Valencia Jose Antonio Franco Universidad de La Coruña JoséCalvo López Universidad Politécnica de Cartagena JoséMaría Gentil Universidad de Sevilla Jose Pinto Duarte Penn State University Juan Miguel Otxotorena Universidad de Navarra Liss c. Werner Technische Universität Berlin Margarita de Luxán Universidad Politécnica de Madrid Mario Docci UniversitàLa Sapienza di Roma Mara Capone UniversitàFederico II di Napoli Marta Úbeda Universidad de Valladolid Mercedes Carbonell Segarra Universidad de Alicante Noelia Galván Universidad de Valladolid Pablo Lorenzo-Eiroa Cooper Union (New York) xiii Pilar Chías Universidad de Alcaláde Henares Rivka Oxman Israel Institute of Technology Stefano Bertocci Universitàdi Firenze Tadeja Zupancic University of Ljubljana Vito Cardone Universitàdi Salerno Carlos L. Marcos (conference chair) Universidad de Alicante Peer Reviewers Committee Aitor Goitia Universidad San Pablo CEU Alberto Grijalba Bengoetxea Universidad de Valladolid Amparo Bernal Universidad de Burgos Ana Torres Barchino Universidad Politécnica de Valencia Andrés Martínez Medina Universidad de Alicante Ángel Allepuz Universidad de Alicante Ángel JoséFernández Universidad de La Coruña Angelica Fernández Morales Universidad de Zaragoza Angelique Trachana Universidad Politécnica de Madrid Antonio Álvaro Tordesillas Universidad de Valladolid Antonio Amado Lorenzo Universidad de La Coruña Antonio L. Ampliato Briones Universidad de Sevilla Burak Park Universidad de Lovaina Carlos Montes Serrano Universidad de Valladolid Carlos S. Martínez Ivars Universidad de Alicante Carmen Escoda Pastor Universidad Politécnica de Cataluña ConcepciónLópez Universidad Politécnica de Valencia Debora Domingo Calabuig Universidad Politécnica de Valencia Derya Gulec Ozer Altinbas University (Istanbul) Elia Gutiérrez Mozo Universidad de Alicante Emanuela Lanzara UniversitàFederico II di Napoli Enrique Rabasa Díaz Universidad Politécnica de Madrid Francisco García Jara Universidad de Alicante Francisco Peixoto Alves Universidade Lusiada Gabriel Wurzer Universidad Técnica de Viena Gaspar Jaén i Urban Universidad de Alicante Giuseppe Amoruso Politecnico di Milano Graziano Mario Valenti Universidad Sapienza de Roma Inés Pernas Alonso Universidad de La Coruña Ismael GarcíaRíos Universidad Politécnica de Madrid Jorge Domingo Gresa Universidad de Alicante JoséCarrasco Hortal Universidad de Alicante JoséLuis Oliver Universidad de Alicante JoséParra Martínez Universidad de Alicante xiv Organization Committee Justo Oliva Meyer Universidad de Alicante Lia Maria Papa UniversitàFederico II di Napoli Luis Agustín Hernández Universidad de Zaragoza Mara Capone UniversitàFederico II di Napoli Marco Lucchini Politecnico di Milano Maria Josefa Agudo Universidad de Sevilla Maria Luisa Martinez Zimmermann Universidad de Las Palmas Marta Alonso Rodríguez Universidad de Valladolid Mercedes Carbonell Segarra Universidad de Alicante Noelia Galván Universidad de Valladolid Pablo Juan Gutiérrez Universidad de Alicante Ramón Maestre Universidad de Alicante Ricardo Irles Parreño Universidad de Alicante Salvatore Barba Universitàdi Salerno Sonia Izquierdo Esteban Universidad San Pablo CEU Organization Committee xv Part III Representation Materiality and Digital Fabrication Augmented Graphic Thinking in Geometry. Developable Architectural Surfaces in Experimental Pavilions ................. 1065 Andrés Martín-Pastor Little Big Models. The Tools of Japanese Architect Studios ......... 1076 Marta Úbeda Blanco, Daniel Villalobos Alonso, and Sara Pérez Barreiro Digital Tools for Architectural Conception ...................... 1087 Alberto T. Estévez Geo-Solar Geometry: A Teaching Tool for Understanding the Sun Orbits Around Any Point on Earth: A Global Three-Dimensional Solar Chart .............................. 1098 Ramón Maestre López-Salazar Self-assembling Architecture. User Graphic Manuals .............. 1108 Sonia Izquierdo Esteban Kerf-Bending Tests: Design for Manufacturing Doubly Ruled Surfaces ........................................... 1117 Emanuela Lanzara and Mara Capone The Geometric Cast-Shadows for the Motivation Retrieval ......... 1131 Antonio Álvaro-Tordesillas, Marta Alonso-Rodríguez, and Noelia Galván Desvaux Chair_ludus: Re-drawing the Gerrit Rietveld Chairs .............. 1141 Marcello Balzani, Luca Rossato, and Francesco Viroli The Physical Modeling in Architectural Design—The Serial Plans ... 1150 Amélia de Farias Panet Barros and Aluizia Márcia Fonseca de Lima The Digital Model as a Nexus Between the Drawn and the Constructed. The Basilica of Santa Maria of Elche as an Example .................................... 1161 Santiago Vilella Bas Part IV Cartographies, Mappings, City and Territory Views of Seville Environs Until 1800 .......................... 1177 TomásDíaz Zamudio and Antonio Gámiz Gordo Tecnological Gaze: Digital Techniques of Landscape Representation ........................................... 1189 Gabriella Liva Digital Representation of Urban Changes: Fragments of the Medieval Palermo ................................... 1198 Vincenza Garofalo xxxvi Contents Little Big Models. The Tools of Japanese Architect Studios Marta Úbeda Blanco 1(&) , Daniel Villalobos Alonso 2(&) , and Sara Pérez Barreiro 2(&) 1 ExpresiónGráfica Arquitectónica. Urbanística Y Ordenación Del Territorio, Universidad de Valladolid, Valladolid, Spain [email protected] 2 Teoría de La Arquitectura Y Proyectos Arquitectónicos, Universidad de Valladolid, Valladolid, Spain {danielvillalobosalonso,saraperezbarreiro}@gmail.com Abstract. Description Nowadays we are seeing the fall of drawing as architecture´s main tool. Drawing, which is so necessary and important in our profession as architects since the origins of architecture, is disappearing with the advance of technology. Focus The new ways of working in all architect studios with the advance of computer software, are leaving drawing out. Programming courses and computer drawing are more important in architectural teaching than drawing subjects. The old drawing instruments like rotring and the compass are now kept in glass windows by collectors. Models are the only tools that have remained with architects since the beginning of their profession. Models were used to convince the principal party and to explain the project to costumers that didn´t understand layout drawings and perspectives. Nowadays, architects present their studios showing rooms full of manual models. Objectives The main objective of this communication is to show that three-dimensional representation through physical models has been and still is, the most important tool in Architecture. Models are the link between old and modern architecture. That is why we are going to study the way they work in Japanese studios of architecture, where physical models are their main system of working from the initial stages of the project. Keywords: Models Manual Japanese studios 1 The Little-Big Model Throughout history, architects have used a broad range of tools to develop their projects, although drawing has been the main and fundamental transmitter of architecture. In this new digital era, we are seeing the decline of hand drawing, which is taking a back seat to the breakthrough of the digital drawing and its great advances and development. Those great perspectives, sections, elevations and colorful watercolors with which big and small architects of the world portrayed their mastery have been replaced by 3D renders, digitalized computer science and virtual reality. However, as time continues to pass by, the architect still uses a tool in parallel fashion to the drawing that has always ©Springer International Publishing AG, part of Springer Nature 2019 C. L. Marcos (ed.), Graphic Imprints, https://doi.org/10.1007/978-3-319-93749-6_88 been present in his work. We are referring to the three-dimensional tangible models. The only thing that has changed in these models over time is the material used to build them (Úbeda 2002). It is important to cite Vasari on the subject of the Renaissance, where he tells us how Brunelleschi carved turnips with a pocket knife to show the details to the workers of Santa María del Fiore. In those times, large turnips were sold in markets. Filippo Brunelleschi used these turnips to explain the details of the construction to the workers: “and I provided them with models of the cuts and unions of the wood, wax, or also the turnips. And in the same way, I made the tools for the work”(Vasari 1906, p. 361). Leonardo da Vinci made edible models like the Engagements of Lodovico Sforza, a replica made of cake of the Castello Sforza. It was seventy meters long with reinforcements made of nuts and raisins, covered with multicolored marzipan. The castle made of cake could be toured from the inside because there were doors, stools and tables made of puffed pastry (Da Vinci 1987, pp. 18 and 45) Before Miguel Ángel Buonarotti drew a single picture, he made a clay model for the Basilica of San Pedro in Rome (Úbeda 2002). We cannot forget majestic Renaissance models like Antonio da Sangallo´s. It took him seven years just in the construction of the model itself (Forni 1982). Beyond the impressive models for presentations that yet today are still being made to participate in architecture contests, we want to make a referral in this paper to mayfly models so small that sometimes they fit in the palm of your hand. They are small in size, but they contain the essence of the architectural project. Those little-big working models are the generators of architecture. Let us focus on current Japanese architecture studios. It is really surprising how they present their working space. They work in large rooms with a lot of people working on models and surrounded by piles of models stacked on top of each other. According to Mark Wigley when he talks about the SANAA studio, he says they are “a sea of white models”(2015) (Fig. 1). In this system of work, the model is the main theme, and architects like Kazuyo Sejima, Ryue Nishizawa, Junya Ishigami, Sou Fujimoto, Toyo Ito or Shigeru Ban among others, use this system to express their ideas and generate their personal architecture. The architects work around the same idea of eliminating the barriers between indoors and outdoors. The idea is to transgress those limits in architecture and merge it with the natural surroundings, letting nature enter inside the architecture and making the architecture belong to the environment, or even converting it into nature itself. 2 Toyto Ito This mutual integration process appears in all of Toyo Ito´s work, whose considerations look for: “a wind-like architecture, shapeless, light, that floats in the air. A space generated like liquid, soft and flexible. A thin layered architecture, as that of a wrapping that filters the phenomenon and works as a generator of vortexes or swirls in the natural currents of, air, wind, light and sound. An architecture that produces a landscape like a garden plowed by those flows. An open architecture with oscillating and meandering limits. The limit acting as a membrane; an osmotic film that does not Little Big Models. The Tools of Japanese Architect Studios 1077 The size of the models get bigger and bigger, but whether we go forward or move back a few steps, we are dealing with something that we repeat over and over again as we approach the actual object. At the beginning of the project we build a bunch of models, but once we get through the initial stage and we approach the execution of the project, we build a good model to the scale of 1/50 or 1/20. Instead of testing the waters through repetition as we had done up to this point, we use this model until the end, modifying it as many times as needed. At the same time, we resort to the small models used in the stage immediately before this one to compare the general design, while we build other models with specific details to a greater scale”(Sejima 2015) (Fig. 9). Abstraction by means of three-dimensional models, simplifies immersion into the architectural space, allowing them to experience it directly in an almost real approach. “What really seems difficult regarding work models is how to use them to think about reality in an acceptable level of abstraction. Or on the contrary, when thinking about architecture and its construction, there must be a moment for the abstraction process to take place. I think that making models can be very useful to achieve this”(Sejima 2015) (Fig. 10). As Mark Wigley puts it, her studios become “a sea of models”, a great testing laboratory to reach the new image of her architecture (Wingley 2015, p. 22). A constant process of repetition of three-dimensional models in which barely any detail is changed. It is a system of feedback where the building is refined little by little until the ideal result is obtained. As Federico Soriano states, “…the work of these architects with the constant repetition of complete models. In each new model, the object is not more detailed, but the same. They are not models with fragmented details, but that of the complete object. Each iteration makes it more complex and polished, with the same formal presence and maintaining the graphic document identical”(Soriano 2015). Fig. 9. SANAA, Paper working models for Christian Dior building, Omotesando, 2003. Taken from El Croquis, no. 179–180 1084 M. Úbeda et al. 7 Conclusions When we contemplate a great model of a project, it brings us closer to the building. But studying those small working models reveals the process of approaching the real experience of architecture. These are the real tools that architects have used, are currently using and will use in the future. Small tangible models that are willing to be manipulated, modified and altered over and over again until becoming the foundation of architectural space. These little-big models are utensils to make us think. They are the means for projecting and the tools of the architect. References Cortés JA (2005) Más alládel Movimiento Moderno, más alláde Sendai. El Croquis 123 Da Vinci L (1987) Los apuntes de cocina de Leonardo. Apuntes sobre cocina y etiqueta en la mesa de Leonardo da Vinci. Ed. Abril Fujimoto S (2011a) El sentido del bosque. El Croquis 151 Fujimoto S (2011b) Futuro Primitivo. El Croquis 151 Fujimoto S (2011c) Toyo Ito y la Mediateca de Sendai. El Croquis 151 Fujimoto S (2011d) Un ámbito único. El Croquis 151 Ishigami J (2015) La libertad en la arquitectura. El Croquis 182 Ito T (2013) Sendai Mediatheque. Actar, Barcelona McQuaid M (2003) Shigeru Ban. Phaidon Press Limited, Nueva York Sejima K (2015) Cuestión de maquetas. AV Monografías 171–172 Soriano F (2015) Refinamientos y Eclectitudes. Sobre métodos de trabajo que sustituyen a los estilos. El Croquis 179–180 Fig. 10. Yamagata, 2013. Kazuyo Sejima with one of the models of his projects. Taken from AV Monographs 171–172 (2015) Little Big Models. The Tools of Japanese Architect Studios 1085 Úbeda M (2002) La maqueta como experiencia del espacio arquitectónico. Coacyle Valladolid/Universidad de Valladolid, Valladlid Vasari G (1906) Le vite de´piùeccellenti pittori scultori ed architettori scrite da Giorgio Vasari pittore aretino. Sansoni, Florencia Wingley M (2015) Delgada delgadez. El Croquis 179–180:30 Marta Úbeda Blanco Doctor of Architecture, Official Teacher of the School of Architecture of Valladolid, Spain, Department of Urbanism and Representation of Architecture, and Teacher of Desing at the School of Engeìneering of Valladolid, Spain. [email protected]. Books about Architecture and Representation: La maqueta como experiencia de espacio arquitectónico (2002), El lenguaje del arquitecto (2004), Representación y Proyecto Gráfico: Escritos de Arquitectura. Leopoldo Uría Iglesias (2011), Concursos de Arquitectura (2012), …etc. He gives doctorate courses in the ETSA Valladolid, about Representation of Architecture. She is a member of the Group of Investigation, GIR: Documentación, Análisis y Representación del Patrimonio Arquitectónico. She perticipated in the course of Architecture and Cinema “Fotograma 10”. She has participated in exhibitions about Representation of Achitecture like: Arg-e-Bam La Ciudadela Perdida (2007), La Mirada de Fisac (2008), De Arquitectos. Cuadernos (2011). She participates with communications in International coferences of Graphic Achitectonic Expresion (EGA) that take place every two years. Daniel Villalobos Alonso Doctor of Architecture, Official Teacher of the School of Architecture of Valladolid, Spain, Department of Theory of Architecture and Architectural Projects. Autor of books like La Mirada de Fisac, Doce edificios de arquitectura moderna en Valladolid, Veintiún edificios de arquitectura moderna en Oporto, Le Corbusier e a identidade do lugar…. He has taught doctorate courses on modern architecture in Spain. Portugal and south America. He obtains prizes: Selection Biennial of Venice 1985. Three Prizes Castilla y León de Arquitectura in the bienios 2004–06 and 2006–08. He is a member of the International Committee of Experts DO.CO.MO.MO. Ibérico. Member of the International Committee of the Competition: Construction of the headquarters of the Princess Cristina Foundation of Norway in Spain. Director of the Museum of the University of Valladolid. He has been Curator of Exhibitions as: Chandigarh 50 años de vida, Arquitectura Noruega 1995–2000, o La Mirada de Fisac. Sara Pérez Barreiro Doctor of Architecture, Teacher of the School of Architecture of Valladolid, Spain, Department of Theory of Architecture and Architectural Projects. She is a member of the Group of Investigation, GIR: “Arquitectura y Cine”. Co-director of the courses “Fotograma. Curso de Arquitectura y Cine” since 2007. Participation in conferencies, and courses on Arquitectura, Cinema and Moder Movement. Co-editor of 21 edificios de arquitectura moderna en Porto and Trazas de la Arquitectura Palaciega en el Valladolid de la Corte. Autor of the books Star Wars. Arquitectura, Ficción o realidad,Futuros Tenebrosos en el Cine de Ciencia Ficciónand Utopías arquitectura de Ciencia Ficción. Director of CA Magazine 1086 M. Úbeda et al. Maiezza, Pamela, 521 Mandelli, Emma, 1030 Manti, Andrea, 427 Marcos, Carlos L., 867,975 Marotta, Anna, 211 Martín Domínguez, Beatriz, 439 Martínez Aguado, Antonio, 169 Martínez Díaz, Ángel, 764 Martínez-Medina, Andrés, 975 Martínez Piqueras, Jorge, 623 Martín Fuentes, Daniel, 1325 Martín-Pastor, Andrés, 1065 Martone, Maria, 844 Medina Granados, Karina, 1641 Merino Sáenz, JoséAntonio, 347 Merlo, Alessandro, 1030 Messina, Barbara, 881 Millán-Gómez, Antonio, 1311 Miotto Bruscato, Underléa, 335 Molina-Liñán, M. Mercedes, 1241 Molina-Siles, Pedro, 587 Molinero Sánchez, Jorge Gabriel, 835 Mollicon, Antonio, 1303 Mongiello, Giovanni, 991 Morales Menárguez, Francesc, 1372 Moral García, Álvaro, 951 Moreno Moreno, María Pura, 92 N Navarro Jover, Luis, 1533 Navarro-Mateu, Diego, 118 Novello, Giuseppa, 383 Núñez-González, María, 685 O Oliva Meyer, Justo, 38 Oliver Ramírez, JoséLuís, 12 Ortiz Tabarez, Juan Carlos, 1527 P Palestini, Caterina, 183 Palma, Valerio, 633 Panarotto, Federico, 633 Parra-Martínez, José,657 Paternò, Emanuela, 672 Pavignano, Martino, 211 Peral-López, José,1259 Pérez Barreiro, Sara, 1076 Pérez Martínez, JoséJavier, 1543,1609 Picchio, Francesca, 541 Pirinu, Andrea, 1227 Puche, J. M., 1020 Pujadas-Gispert, Ester, 1566 R Raposo Grau, Javier Francisco, 264,1586 Redondo Domínguez, Ernest, 1566 Riesco Leal, Luis, 285 Rivas López, Esteban José,835 Robador González, María Dolores, 1047 Ródenas-López, Manuel A., 23 Rodríguez Moreno, Concepción, 252 Rossato, Luca, 1141 Rossi, Adriana, 532 Rossi, Maria Laura, 299 Ros Torres, Josefa, 1000 Rubio, Oscar, 867 Ruiz-Cáceres, JoséÁngel, 1461 S Salas Ballestín, Carlos, 439 Salas Ballestín, Juan Carlos, 1503 Salgado de la Rosa, Mariasun, 264,1586 Salomone, Alessia, 991 Salucci, Antonella, 777 Sancho Mir, Miguel, 439 Santonja Jiménez, Ricardo, 1424 Sarasola Rubio, Fátima, 131 SarrióGarcía, Juan María, 699 Sdegno, Alberto, 427 Serra Lluch, Juan, 1387,1492 Serrano Salazar, Salvador, 1372 Solà-Morales, Pau, 1020 Sorowka, Martin, 710 Spallone, Roberta, 156 T Tata, Alessandra, 521 Tavolare, Riccardo, 991 Toldrà, J. M., 1020 Torres Barchino, Ana, 1492 Tortul, Carla Beatriz, 335 Tovar Monge, Diego, 1461 Trachana, Angelique, 169 Tunzi, Pasquale, 242 U Úbeda Blanco, Marta, 1076 V Valenti, Rita, 672 Vallespín Muniesa, Aurelio, 739 Vatrala, Yuriy, 1461 Vattano, Starlight, 1360,1630 Author Index 1657 Vázquez Arenas, Gemma, 1000 Velásquez Hernández, Víctor Hugo, 466 Verdoscia, Cesare, 991 Vilella Bas, Santiago, 1161 Villalobos Alonso, Daniel, 1076 Vinci, Calogero, 594 Viroli, Francesco, 1141 W Werner, Liss C., 3 Z Zaragoza, Isabel, 199 Zerlenga, Ornella, 1433 1658 Author Index