本作品虽然采用了高技术，新材料，造型新颖，但半透明的壳材料很好的体现出日本传统建筑纸糊分隔的朦胧感觉。节能方面：白天壳材料吸收太阳能加热壳中的水体，因对流水体自然进入主体混凝土结构间层，由于混凝土散热速度较慢，在夜间使室内温暖如春。| Golden Prize | ||||
| Ben Addy (UK) | ||||
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Category A Japanese Style
Zhang: This work is future-oriented and novel. Using metal and glass materials, the designer made small modules which combined and expanded into an architectural structure. This method enables us to build a superior building in structure and capability. It also produces both small and large spaces as needed through various ways. With its free use of space, the design allows the residents to seek convenience of their own to the full in both time and space. It can help create space most suitable to the life of modern people. In terms of the composition of the materials, the work has a design highly suited to the mechanized, modern life. Its advantage lies in the easy rearrangement of space with its direction and opening/shutting adjustable to the will of the residents. As we face problems of the future when energy is in danger of depletion, the design proposes the direction for us to take in answer to the question of how we should be able to solve those energy problems through solar energy and wind power. The design reminds me of the automation facility at a conference room of the Bundestag, or Parliament, in Berlin, Germany. That's why I think this design is suitable for the paradigms of environmental protection and sustainable development. To talk about the appearance, the rhythmic combination of illuminations and curved lines gives notice of the trend of the modern design. It leaves something to be desired as it failed to propose a specific approach toward how interior can be used in real life. However, the jurors held the work in high estimation as it was a novel and cutting-edge design. Kim: While possessing the world's top-notch technology in the automobile and shipbuilding industries, Japan has built houses of new styles mostly in the traditional manner. In this regard, I think the designer proposed what he thinks as housing of industrial production. I suppose that he made the proposal of the housing form in an industrial cluster, a form that he might have wished that Japan would implement. When Frank Lloyd Wright built Imperial Hotel in Tokyo, by replacing the traditional Japanese architectural material with reinforced concrete he created a new, epoch-making work, or a work that went beyond East and West to use our term. I thought this winning entry can be another, small Imperial Hotel in that it hinted at the possibility of building a structure as if to manufacture automobiles, with the technology that the industrial power of modern Japan has achieved. This work reminds us of the fact that what we call things Japanese, Korean, or Chinese are not just captured in aesthetical or emotional terms, but they can also be grasped by finding a national identity from the reality in which the country finds itself and the potential and problems that the country has. Therefore, if developing a new housing form based on the technological and economic prowess that Japan has achieved can be deemed a Japanese style, then this work began with the potential of Japan, pursuing to break through the problems it faces today. This entry is a proposal that has never existed in the first and second competitions in that it exhibited how an architectural plan can be a structure, which, in turn, can be an industrial production. Sejima: Though not in the traditional Japanese style, I find that the work still can be a Japanese style in the way that it may be constructed as well as in psychological |
