MAKOTO SEI WATANABE

  Presentation
Exhibition
Resources

(J)

(*1952)

 

 

 
Presentation
       
 
     
Watanabe founded his agency in 1984. He constructed the Aoyama Technical College in 1990 out of "high-tech" materials; he defined the premises as a self-organised system akin to a natural phenomenon. In 1994, the Jelly Fish house series was an architectural experiment which called on light and water to elicit a sense of space which is virtually a physical object. The opacity of the house's main volume combines with the transparency of the air and water bubbles hanging from it likes shells on a reef. The "pool-rooms" are voids illuminated by light which endows them with tangibility. In Watanabe's view, architecture should make the invisible visible. This floating spatial quality is also apparent in the K-Museum built in Tokyo in 1996; it seems to rise up out of the ground in an ascending movement as if suspended between earth and sky. Here, the lightness of the movement combines with powerful volumes whose planes seem to float individually in space. Balance and instability have come together in this paradoxical architecture.
   
       
       
       
     
         
 
       
 
Exhibition
       
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MAKOTO SEI WATANABE : For the IMAGE to the METHOD,
Part-Whole-Relation-Generation
   
           
     

Architectural structures and cities are made up of many parts. "Design" is an activity which determines the interrelations among those parts. From that the whole is generated. There are thus two possible approaches to design.
On the one hand, a set of grounding rules (like those of Newtonian mechanics) can be laid down to regulate the whole, with the parts successively falling into place in accord with those rules. On the other hand, it is possible to begin with the smallest parts and gradually form a whole from those. Ordinarily, design follows the former approach, starting from the top down. But the alternative is also a viable approach to "design."(...)
Researchers using simulation modeling have found that when living organisms move in groups, the only thing determinate is the relation of each with its immediate neighbors. Simple rules on factors like mutual distance, orientation, and posture are fixed, but no one member of the group tells the others how to move. Despite this, when large numbers of such organisms move in groups, remarkably precise patterns are generated.
To create a whole according to a blueprint, powerful overall rules and a great amount of energy are required. But by simply giving rules for relations among parts, a whole can be defined through very simple relays, and because the rules only affect the parts, the whole can adapt flexibly to change.
(...)A new "method" of urban planning is called for around the world. "The Induction Cities" project is one such possibility. The cities brought forth through this project would not be "planned" cities. Although they may bring to mind actual cities, these are cities spontaneously generated by computer programs.

   
       
     
     
     
           
  K-Museum
Ariake, Koto-Ku, Tkyo, 1996
 
Image-Desire-Dreams-Flotation
   
           
     

Let's leave the problem of finding solutions under fixed conditions up to a program such as that suggested above. It's better for humans to do things computers can't do. One thing human beings should do is to "design" a program like that of "The Induction Cities" project itself. This would be a matter of "Meta-Design". It's an act of setting values, of deciding what is good.
One more thing that programs cannot do is to "dream" .
(...)Dreams reveal not things which are good but things which we desire: a matter of creating objects of value.
(...)We have to dream deeper dreams, seeking the images of what we really wish for. That is what "Image Design" means. Dreams are not a flight from reality. Dreaming is the driving force behind the pursuit of a better reality. Let us say those who make the forms of dreams visible are, broadly speaking, architects. "Image Design" and "Meta Design" make up a complementary combination.(...)
What, then, is the greatest desire of architecture?
Architecture is subject to many conditions. Site, function, environment, construction deadlines, costs, etc. The strongest among these conditions is gravity. No technology exists in today's world for cancelling the force of gravity on objects situated on the earth's surface.(...)
Because there is no escaping from gravity, this becomes a universal symbol of all other kinds of constraints.
The floating quality of works such as "Jelly Fish", "Osaka Prefectural Peace Museum", "K Museum" and others does not signify simply the liberation from gravity. It is also an expression of the will to be released from layers on layers of many kinds of "spells" or bewitchments.

   
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MURA-NO TERRACE, High Technology within Nature - Mura-no, Japon, 1995
   
           
     

This is a public complex located deep in the mountains of Gifu Prefecture, in central Japan. Bordering the least densely populated village in Japan, the population of this village is only 750 people. It possesses the image of a "hometown" which many Japanese still hold. However, even though the image of a hometown has not changed, in reality the hometown itself is not the same as before. Even in this area of beautiful rivers and green valleys, which do not exhibit any manifestations of change, optical fiber has arrived and high-vision, televisions illuminate the night. The people enjoy a comfortable life through the use of high technology within their beautiful nature. In this way, the image of a "lost hometown" overlaps with the image of the "still distant future". Within such an environment, this architecture, location for holding meetings for the villagers, and also as an information center for people visiting the village, is imagined as a small artificial object intensifying the natural landscape.

   
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JELLY FISH HOUSES, Japon, 1990-97
   
           
     

The Jelly Fish series is a prototype for experimenting with light and water. One of its aims is the attempt to give material substance to the invisible power of "buoyancy". Another is to transform actual space into a control filter vis à vis the external world. The ultimate goal of these two attempts is to exchange substance for space and space for substance. People have the preconceived idea that space is empty and substance is dense. The Jelly Fish series presents space that is full of liquid, space that has substance that we can touch. It also exhibits space as a film that changes light and wind. The shape of a "Jelly Fish" resembles a balance, a scales for measuring the weight of space and the mass of light. On this balance, force becomes material, and the material becomes action-interchangeable symmetry. The first "Jelly Fish" led to the "Mura-no Terrace" project, in 1995. Part of "Jelly Fish 2" was realized as a semi-transparent, free-curved surface volume in the "K-Museum" project, in 1996.

   
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"THE INDUCTION CITIES" PROJECT : Theory of Evolutionary Design/ A New 'Method' for Architecture and the City, 1991-96
   
           
     

Instead of designing a plan and a resulting form, this project designs a "mechanism" for generating the result. This is a matter of attempting to design a process of evolution, of design without design, i.e. "Design-less Design". This might otherwise be described as a higher level approach to design, designing the system of the process of design, i.e. "Meta-Design". This kind of new approach to design is possible through computer programming. "Induction city" consists in a kind of atlas of 4-dimensional virtual cities. "Sun-God City" and "On-demand City" of "The Induction Cities" project are readily accessible examples. When one element of the city is changed, relations with all other elements are altered. As the number of elements increases, interrelations among them become more complex and only a computer program can solve problems of "complexity".

   
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AOYAMA TECHNICAL COLLEGE, Challenge for the organic in urban space - Tokyo, Japon, 1990 - Competition 1988 (1st price)
   
           
     

The site lies in Shibuya, sprawling unorganized district, which is one of the main sub-centers of the downtown area of metropolitan Tokyo. This project is a continuation of watanabe's thoughts about the urban fabric of Tokyo and, in particular, of the idea that it is built according to organic mechanisms: they permit maximum liberty to individual parts and promote their integration into the whole, rather than subjugating them to the whole. The self-organizing, organic system that emerges on this principle, however, is, like a natural phenomenon, not conscious. For Watanabe, architecture is the way to reveal this "hidden order".
The Technical College consists of many parts. They all are essential architectural elements. The order Watanabe sought after in this project refers to japanese concept of "Ma"(the space or/and distance among parts) : an order, not achieved through simplistic control from above but through tolerance of chaos.

   
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Resources
       
 
 
Biography
       
     
Makoto Sei Watanabe (1952)
1974 - Diplômé de "Yokohama National University"
1976 - Master d'Architecture, "Yokohama National University".

1984 - Fondation de L'Agence Makoto Sei Watanabe.
1994 - Lauréat du "Hylar international Award".
1997 - Lauréat du "SDA Award" - Ministère de l'Industrie du Japon.

Enseignement :
1997 / 1988 - "Yokohama National University".
1995 / 1994 - "Kyoto Seika University".
1997 - "Tokyo Denki University".

Principaux projets et réalisations :
2000 - "IIdabashi Subway Station" Tokyo Subway, Ligne 12 (concours 1991).
1999 - "Star site - housing" Tokyo.
1998 - "Fiber Wave" Chicago Athaneum , "Jelly Fish III" Shanghaï, Chine.
1996 - "K-Museum" Tokyo ; "Atlas Housing" Tokyo ; "Fiber Wave" Tokyo ; "The New Capital of Japan - New Capitol Building" (projet).
1995 - "Mura-No Terrace" Gifu.
1994 - "Jelly Fish II" (projet).
1992 - "Stera Vista - Residence" (projet) ; "Lagoon - Residence" (projet).
1991 - "Chronospace - Spiral Hall" Tokyo.
1990 - "Aoyama Technical College" Tokyo (concours international 1988) ; "Jelly Fish - Second House" (projet).

Expositions récentes :
1997 - Tokyo University Digital Museum "The Virtual Architecture".
1995 - "Architectural Design Conference", Yokohama ; Japan Institute of Architects, "Wooden City".
   
           
 
Bibliography
       
     

Principales publications de Makoto Sei Watanabe
1998 - Monographie, Makoto Sei Watanabe "Conceiving the City" l'ArcaEdizioni (Italie) ; "Liquid Crystal" Jitsugyo no Nihon sha Publishing, Tokyo.
1995 - "7 Polilogue" Collaborateur, Delphi Research Publishing, Tokyo.
1992 - "Kenchikuka (Architect)" Jitsugyo no Nihon sha Publishing, Tokyo.
1990 - "Sokudo Kukan" Collaborateur, Rikuyo sha Publishing, Tokyo.

Bibliographie sélective
1998 - Building Journal (janv.) Hong-Kong ; LD+A - Lighting Design + Applications - (fév.) USA ; If Product Design Award, Allemagne ; Annual Report, France ; Indian Architect & builder (avril) Inde.
1997 - World Architecture (Avril) Grande-Bretagne ; "World City Tokyo" Academy Editions, GB. ; Architecture d'Aujourd'hui (juin) France ; Deutsche Bauzeitung (août) Allemagne ; L'industria del Costruzione (mai) Italie ; Inter (avril) Canada ; Building Journal (janv.) Hong-Kong ; Indian Arch. & builder (mars et avril).
1996 - L'Arca International (juillet / août ) Italie ; The Architectural Review (juillet) GB, Blue Print (août et décembre) GB, Inter (sept.) Canada.
1992 - "Japan Design", Edit. Taschen, Allemagne ; Architecture d'Aujourd'hui (oct).
93 - AXIS, "Re-Engeneering Tokyo".