The work of Atelier Bow-Wow carefully studies the social and economic context, relentlessly seeking to turn problems into opportunities. By choosing to study human behavior inside a building, they are extending beyond the quantitative aspects of construction. Momoyo Kaijima was a member of the LafargeHolcim Awards jury in Asia Pacific for the first time in , the year after Atelier Bow-Wow had published their highly influential Behaviorology. In addition to architecture they explore anthropology and psychology. For the office, such hybridization is the source of a new narrative and energy.

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The firm is well known for its domestic and cultural architecture and its research exploring the urban conditions of micro, ad hoc architecture. Founders Yoshiharu Tsukamoto was born in Kanagawa Prefecture in He studied architecture at Tokyo Institute of Technology , graduating from his undergraduate degree in In she was the Architect in Residence at the University of Auckland. In the spring of , Yoshiharu Tsukamoto signed on to be a member of the Guggenheim Helsinki Design Competition jury.

Buildings with curious shapes and inventive solutions for windows, drainage, and air-conditioning often arise in these urban situation.

Most of those buildings are cheaply built, and therefore are not spectacular in design and they use not the forefront of technology. However we are attracted by them. Pets, companion animals of the people, are usually small, humorous and charming.

We find what we call "pet architecture", architecture having pet like characteristics, existing in the most unexpected places within the Tokyo city limits. Behaviorological accounts are influences and based on the current social and physical environment in which the behaviour occurs, the personal history of the behaving organism, and the behavioural capacity of the given species. Through this knowledge they then develop behaviour engineering technologies relevant to behaviour in many fields including architecture, education, and entertainment.

Architecture firm Atelier Bow-Wow is famous for its interpretation and use of the concept of behaviorology in its design work. According to founders Tsukamoto and Kaijima, behaviorology defines architectural expression through the understanding of the complex relationship between people the inhabitants of a space , the built environment, and urban space.

In the projects on Micro Public Spaces, such as Manga Pod , Furnicycle and White Limousine Yatai , Atelier Bow-Wow tries to create the new behaviours of the city and people through small furniture or non-enclosed public spaces that encourage active user participation and support individual body experience and behaviour. Da-me Architecture "Da-me Architecture" no-good architecture is a term coined by Atelier Bow Wow, to describe the buildings in Tokyo which prioritizes a "stubbornly honest" response to specific site conditions and program requirements, without insisting on architectural aesthetic and form.

However, according to Atelier Bow Wow, "Shamelessness can become useful", as these buildings intricately report of the urban condition of the city.

These, in fact, "epitomize a creative new, adaptive aesthetic that can be said to be the quintessence of Tokyo. Such an existence seems an antithesis of aesthetics, history, classification and planning, but it is interesting and refreshing as the architecture is simply a physical functional construct that has arrived at this point through a desperation in attempts to respond to the here and now and not anything else.

This area is optimal for the investigation into the transformation of these building types over time as the area was spared destruction from the earthquakes and effects of war during the 20th century. For buildings, its behaviour may only become apparent after documenting its transformations over decades or centuries. This is a highly sustainable urban form which regenerates itself; with privately owned properties.

It can be considered a type of metabolism, though quite different in content than the s architectural thought. At that time concepts focussed on the composition of the vertical core.

We can see that architects believed that the construction of the city would be carried out effectively through a concentration of power and capital. This would be determined by the initiatives of individual families, rather than the accumulation of central capital. With the year lifespan of houses, those in the original areas have, in theory, regenerated twice over. With this we witness a variety of building behaviours, reflecting the generational differences.

Houses which are produced now are a part of the fourth generation, determined by the realities of void metabolism. Interior spaces be inviting for those who are not family members. The quasi-exterior spaces be introduced in a positive manner.

The gap between neighbouring buildings be redefined. Through this ecological approach our imagination follows the principles of nature and experiences space from a variety of perspectives. When one is surrounded by and synchronized to the liveable rhythms embedded in different behaviors — there is no experience quite so delightful. It has also been represented in the form of catalogues, exhibitions, and even T-shirts.

The bright yellow cover makes an immediate statement, echoing the impact the text has created by providing alternative methods for understanding the urban nature of Tokyo. A wide variety of typologies are listed, serving as "a survey of nameless and strange buildings of this city.

These buildings can only exist in Tokyo. This seems suitable for Tokyo where the scene is of never ending construction and destruction. Kaijima and Tsukamoto introduce these theories at the beginning of each chapter in the form of a dialogue between the two architects, and the theories can subsequently be seen applied in the projects that follow in each chapter.

For example, the chapter [VIEW] addresses the importance of sight lines and views of occupants, however it does not discriminate between the picturesque scenery of Mt. Fuji and that of the densely built residential districts of Tokyo. Yet at the same time, systematically and compositionally they occupy a fairly Manneristic realm, and in this I feel that they exist isolated from the reality of life.

The text of the book is both in original Japanese and also translated into English. The use of vertical and horizontal perspectives, together with magnified construction details allows for a new way of observing architecture not only as an object, but within that single frame consisting of many spatial compositions, between rooms and components, between interiors and their adjacent exterior environments, between actions and locations, and ultimately between humans and the spaces they inhabit.

That is where the aims of Atelier Bow-Wow lie. The book pushes for a unity between environmental, human, and animal occupations of space. Echo of Space creates an overlying dreamlike analogy between architecture and an animal world, offering insight into architectural space from a uniquely Japanese perspective. Projects Jig house The Jig house is a two-storey house in the newly developed area of Funabashi, Chiba Prefecture built in The client was Shin Sugawara, an architectural paint dealer and the 8th ranking Kendo master in Japan.

Atelier Bow Wow reinterpreted the elements using contemporary architectural language such as replacing Washi-translucent, multi-purpose paper with fibreglass reinforced plastic FRP.

Traditional use of timber for the veranda is also replaced with industrial materials such as steel, concrete and paint in various shades. Due to the nature of the area, the site is surrounded with temporary asphalt paths and construction sites. The ground level windows frame the formal garden whilst a 4 by 4feet square window in the master bedroom just misses the view of the train. This square feet site belonged to a residential community that developed in the s when the area was mostly farmland.

The dwelling was for a couple with a young child who had just moved back from the city. Since the architects decided to integrate features of the traditional minka farmhouses, they were able to create a new typology for the mixed agricultural and urban land that is found at the fringes of Japanese cities.

Additionally by using this traditional building style the architects were able to blend this expressive and open-to-the-street house with the adjacent pitched roof residences covered with metal siding or stucco. The minka style shows in the high peaked roof that serves as a substitute of a chimney, covered porch, the large fluid interior space and timber construction.

In addition the unusual roof was to accommodate for the extensive precipitation experienced in many parts of Japan.

Thus the steeply peaked roof allowed the rain and snow to fall straight off it, preventing water from getting into the home The Nora House is part of the Pet Architecture, a term created by Yoshiharu Tsukamoto and Momoyo Kaijima, the founder Of Atelier Bow-Wow.

It is a term for buildings that have been squeezed into left-over urban spaces. The name "Pet architecture" refers to houses which have pet-like characteristics, such as being small, humorous, charming, rebellious, unexpected and adapt themselves to their environments.

As pet architecture does not use the forefront technology and does not make the appearance its first consideration, it is a great tool for users to customise their building on a low budget. Since it is defined by using curious shapes and inventive solutions for drainage, windows and air conditioning, they highlight their unique location, produce a relaxed atmosphere and therefore help to relieve the occupant.

Hanamidori The Hanamidori Cultural Center is a multipurpose building built at Showa Memorial Park at Tachikawa, [39] Tokyo in just 10 minutes of walking distance from the Tachikawa rail station. It occupies a total floor area of 6, Our intention was for a space as comfortable as in the shade of a tree that would provide support for park activities.

The spaces between the cylinders are arranged with furniture that can change depending on function and form with a glazed external skin allowing for a visual connection with the exterior.

The facade can be opened up in good weather providing an unhindered access to the exterior. House Tower Located in Shinagawa-ku district of Tokyo, the House Tower, setting back from the street and rising over 11 metres in height, occupies only an Due to the site constraints, the house breaks from the conventional architecture planning, and is articulated as a single volume.

The staircase also divides the house lengthwise into two areas. It is a three-storey residential building and with total site area of It took 7 months to design the house with 5 months of construction. Reflecting this particular characteristic of the site into its design, the facade of the house is divided into five segments of equal length with slightly shifted angles.

Each wall has few windows placed to allow views connecting out to the nearby trees and sloping street. The interior of the house has a clear composition with the staircase placed at the centre of the house.

Each level of the floors is strongly distinguished by its own characteristic. However the downside of this predominant the staircase is that it sometimes creates predominant visual distraction.

Atelier bow-wow attempted to solve this problem by obscuring the stair as much as possible. Bow-Wow explore the subtle changes in surface — the morphing of elements and the individual piecing together of a house that gives it expression. Visual contact with nature is one of the dictating elements of the house.

The house is very open planned, and allows for uninterrupted views right through into the forest beyond. The inner wall is a continuous line which is folded to create spaces on either side, while a corridor cuts through various rooms.

Each room is given a different visual condition. The young artist Tabaimo painted murals all over the walls. The ceiling is painted silver so as to bounce light around. As occupants rise through the building walls converge to constrict upper levels, shifting the internal scale of the building to a domestic sense suited for living.

External views also characterise levels directing orientation of space. The well water pumped up to the roof streams down on surface of the external wall, cooling the wall by vaporization in the summer.

The external wall is covered with granule-faced asphalt to hold the water. It is fun to think of the building as a massive rock sweating, with a dragon like internal water vein, which can be glimpsed between the houses.

The House is set at least 2. The interior levels of Ani House are single-room spaces without any partitioning, with the kitchen and bathroom protruding from the main volume. The use of a fence, which can be constricting around a small site, has been eliminated to open the land to the street.

Gae House embraces the intent of the surrounding homes with the use of the largest possible roof formed according to sun and site restrictions, [58] while the walls are set back from the boundaries. The resulting gap between these elements integrates the surrounding environment with the house. The second floor with a horizontal opening, and stark white walls allows light to enter, creating images of and emulating the outside environment.


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Achieving near cult status among architectural students around the world, Yoshiharu Tsukamoto and Momoyo Kaijima of Atelier Bow-Wow have built a career confronting the challenges posed by dense urban environments. Their city houses—enclosed in vibrant, idiosyncratic forms—are distinguished by their capacity to accommodate the changing needs of the occupants. A basic feature is the permeability of interior spaces, where public and the more intimate places co-mingle, often in vertical structures with a total floor area that rarely exceeds square meters. Atelier Bow-Wow has a dedicated research division that has published a number of treatises on vernacular architecture.


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