Gotowa bibliografia na temat „Atelier Bow-Wow”

Yoshiharu Tsukamoto, established Atelier Bow-Wow together with Momoyo Kaijima in 1992 in Tokyo. This architecture Studio has been worldwide recognized by its work focused on domestic practices, cultural issues and idiosyncratic forms, also by its strong academic performance with a rigorous research practice, which has allowed them to explore micro-architecture conditions in the city reflecting the complexity of urban life and how architecture is involved in it. Atelier Bow-Wow has released more than a dozen publications, among them Pet Architecture Guidebook (2001), Made in Tokyo (2001), Graphic Anatomy Atelier Bow-Wow (2007), Behaviorology (2010), and Commonalities (2014). Yoshiharu Tsukamoto is Professor of Tokyo Institute of Technology. He has taught at Harvard GSD, UCLA, Royal Danish Academy of Fine Arts, Barcelona Institute of Architecture, Kyoto Seika University, Cornell University, and Rice University.

Yoshiharu Tsukamoto fundó Atelier Bow-Wow junto con Momoyo Kaijima en 1992 en Tokio. Esta oficina de arquitectura ha sido reconocida en todo el mundo por su trabajo enfocado en prácticas domésticas, temas culturales y formas idiosincráticas, así como por su gran desempeño académico con una práctica rigurosa de la investigación. Esto les ha permitido explorar condiciones de micro-arquitectura en la ciu­dad que reflejan la complejidad de la vida urbana y cómo la arquitectura se involucra en ella. Atelier Bow-Wow ha publicado más de una docena de volúmenes, entre los que se encuentran Pet Architecture Guidebook (2001), Made in Tokyo (2001), Graphic Anatomy Atelier Bow-Wow (2007), Behaviorology (2010) y Commonalities (2014). Yoshiharu Tsukamoto es Profesor del Tokyo Institute of Technology. Ha enseñado en Harvard GSD, UCLA, Royal Danish Academy of Fine Arts, Barcelona Institute of Architecture, Kyoto Seika University, Cornell University y Rice University.

<p>Momoyo Kaijima es profesora en la Facultad de Arte y Diseño de la Universidad de Tsukuba en la Prefectura de Ibaraki y profesora visitante en la ETH de Zürich, en Royal Academy of Fine Arts, en Rice School of Architecture y en Harvard GSD. A lo largo de los años, Atelier Bow Wow ha colaborado con Krešimir Rogina, arquitecto de Zagreb y socio de la firma internacional Penezic&amp;Rogina, en la realización del Grožnjan International Summer School of Architecture, siendo Rogina el nexo indispensable para propiciar la visita de Kaijima a Valencia.</p>

La così detta architectural ethnography ha visto crescere il proprio interesse grazie a studi recenti come quelli di Albena Yaneva e ai lavori e alle ricerche di Momoyo Kaijima con il suo Atelier Bow Wow. Prendendo le mosse da un interesse per le specificità dei percorsi etnografici quando sono messi in atto dagli architetti, ovvero da persone che dovrebbero avere una precisa sensibilità per la forma e per lo spazio, per le sue prati- che d'uso e per la sua materialità, l'articolo propone alcuni percorsi bibliografici tesi a definire una postura che negli ultimi anni abbiamo assunto nel fare didattica e ricerca per il progetto attraverso l'individuazione di convergenze e distanze con la letteratura esistente. Un percorso che ci ha portati a interrogarci sul ruolo della trascrizione (grafica, fotografica e testuale) nell'architectural ethnography, così come a mettere in tensione il ruolo di tradizione e innovazione in queste recenti esperienze.

The increasing consumption of clothing every year gives birth to a new concept, namely fast fashion. It is a modern term for cheap and trendy clothes that take fashion ideas from fashion shows or fashionable styles from celebrities. The fast fashion work system is known as a mass process that is able to produce clothes quickly. However, this process uses too many natural resources and is detrimental to the environment. Even though the results of the fabric produced are not comparable to the nature that was sacrificed. The concept of fast fashion which should be able to harmonize production and consumers will lose balance. This project has a goal to build an architectural masterpiece that can reduce the negative impact of the fashion industry on environmental pollution. Inviting the public to participate in changing a consumptive and hedonistic culture. Thus creating a community that is aware of a better lifestyle to become a productive and circular generation in fashion consumption. In its design, Atelier Bow-Wow's Behaviorology Strategy method is used which studies the context of environmental, social and economic concerns that seek to turn problems into opportunities as a basic aspect of eco-friendly design. This study also uses the Nonidentity-programming method by Bernard Tschumi to create programs in circular architectural works, and parametric methods in planning the design of the building's facade. It is hoped that this project will be able to deal with the environmental crisis caused by the practice of the fashion industry in order to create a sustainable life. Keywords: sustainable, fashion, lifestyle, environment AbstrakMeningkatnya konsumsi pakaian setiap tahunnya melahirkan konsep baru yaitu fast fashion. Ini adalah sebuah istilah modern untuk pakaian murah dan trendi yang mengambil ide mode dari peragaan busana atau gaya modis dari selebriti. Sistem kerja fast fashion dikenal sebagai proses masal yang mampu menghasilkan pakaian dengan cepat. Akan tetapi, proses ini menggunakan sumber daya alam yang terlalu banyak dan merugikan lingkungan. Padahal hasil kain yang dihasilkan tidak sebanding dengan alam yang dikorbankan. Konsep fast fashion yang harusnya mampu menyelaraskan produksi dan konsumennya akan kehilangan keseimbangan. Proyek ini memiliki tujuan untuk membangun sebuah karya arsitektur yang mampu mengurangi dampak negatif industri fesyen terhadap pencemaran lingkungan. Mengajak masyarakat untuk berpartisipasi dalam mengubah budaya yang konsumtif dan hedonisme. Sehingga menciptakan sebuah komunitas yang sadar akan gaya hidup yang lebih baik untuk menjadi generasi yang produktif dan sirkular dalam konsumsi fesyen. Dalam perancangannya digunakan metode Behaviorology Strategy milik Atelier Bow-Wow yang mempelajari konteks kepedulian terhadap lingkungan, sosial dan ekonomi yang berusaha mengubah masalah menjadi peluang sebagai aspek dasar dalam desain yang ramah akan ekologi. Studi ini juga menggunakan metode Nonidentity- programming oleh Bernard Tschumi untuk menciptakan program dalam karya arsitektur yang sirkular, dan metode parametrik dalam perencanaan desain bangunan fasadnya. Diharapkan proyek ini mampu dalam menghadapi persoalan krisis lingkungan akibat praktek industri fesyen demi menciptakan kehidupan yang berkesinambungan.

The research focuses on the application of the elements of the theory of linear urbanism to the current solution for the rural settlements, from which life is lost and they are becoming open-air museums. Rural settlements are currently experiencing a crisis, most of their residents are moving to the big cities for work and in order to improve the quality of their life. This work is inspired by utopian cities from the early 20th century, such as The Roadtown by Edward Chambless, Plan Obus by Le Corbusier or Green City by Konstantin Melnikov. Similar tendencies as in previously mentioned works could be found in highly developed cities such as Tokyo. The book, “Made in Tokyo,” from Atelier Bow-Wow, has already mapped the use of those utopian tendencies in Tokyo and tries to apply its forms to the existing typology of cities and landscapes. The aim is not to put all the functions in one conglomerate, but rather to create a superorganism within the country. The superorganism consists of several settlements with insufficient facilities. The settlements are interconnected by an already existing railway. The most important transformation is hidden in the utilisation of the transport infrastructure and in the further addition of the necessary facilities in such a way that the individual necessary facilities within the linear composition can be shared between multiple dwellings. The presented paper uses an artistic research approach, using the method “research by design”. It is an applied (practical) normative research, which relies on the theory of linearity and the theory of the garden city and their radical and coherent design concept. The starting point of the research is a critical look at the current methods of chaotic construction in protected landscape areas in Slovakia. It uses the Margecany-Červená Skala site as a case study to demonstrate how linear theory would work in the present day, using Geographic Information System (GIS) data to analyse the site. The main goal of the project is to bring back the attractiveness of the region with the usage of contemporary artistic concepts, technologies and strategies.

The project of Rebière Street in Paris is the first housing project of Atelier Bow-Wow outside Japan. In the framework of the Porte Pouchet renovation project, a portion of the street along the cemetery was declassified to reduce its width and to build 180 apartments in the resulting free strip. The different plots were assigned to several local and foreign architecture offices. This project is symptomatic of an emerging practice in architecture that sees offices with discourses based on local anchorage taking advantage of globalisation to propose cutting-edge spatial quality in remote locations. The close reading of the project with tools provided by the sociology of engagement allows valuable insights in the production of form in remote practice. If human primary relation to the environment coincides with a regime of engagement based on familiarity, in remote practice the relation to the environment and the local anchorage are de facto mediated. This mediation implies a systemisation of the design process. The legitimacy of this systematisation is by nature questionable and can be a source of doubt or anxiety. Addressing the design process in relation to the ideas of scale of confidence, seizure, adherence and the explorative regime of engagement this article examines how the attempts of Atelier Bow-Wow to deal with the remoteness of the site influence the production of form.

The limit between interior and exterior seems no longer to exist and the two domains increasingly influence each other to the point where they blur into one. In contemporary representations of interior spaces in particular, the private and domestic aspect is in crisis. Two modalities of interpretation of the interior space make this evident, and both originate from notions of cavum and plenum. The former refers to the idea of emptiness, an empty, hollowed out space, while the latter is rather the action of filling. Through critical readings of selected examples of the representation of contemporary domestic spaces, this paper considers some features of internal space and of a new interiority - from the loss of borders between exterior and interior - evidenced in projects such as Sway House (2008) by Atelier Bow-Wow, Moriyama House (2005) by Ryue Nishizawa/SANAA, to the dematerialisation of space when landscapes, with their atmospheric variables, become one with interiors - evidenced in projects such as Curtain Wall House (1995) by Shigeru Ban; House in Leiria (2008-2010) by Aires Mateus.