Toyo Ito: An architect for individuals

“I sometimes feel that we are losing an intuitive sense of our own bodies,” Mr. Ito lamented at one point during my visit. “Children don’t run around outside as much as they did. They sit in front of computer games. Some architects have been trying to find a language for this new generation, with very minimalist spaces. I am looking for something more primitive, a kind of abstraction that still has a sense of the body.”

“The in between,” he added, “is more interesting to me."

Nicolai Ourousoff's essay in the New York Times on Japanese architect Toyo Ito caught my attention because it contrasts the 'unassuming' Ito to the 'diva' Zaha Hadid and 'intimidating' Rem Koolhaas. The essay paints

Looking for a way forward Mr. Ito was drawn to the work of Kazuo Shinohara, a vocal critic of the Metabolists who believed that if architecture could change the world at all, it would do so not by promoting radical social visions but by creating small, modest spaces to nurture and protect the individual spirit. His houses, mostly build it in the 1960s and 1970s, were conceived as private utopias, with delicate interiors supported by muscular concrete pillars that seemed designed to resist the outside pressures of a corrupting society.

But eventually this vision seemed as limiting ... and Mr. Ito would locate his architecture in the space between two extremes: the social idealism of late Modernism and the inwardness of Shinohara’s work.

Much as I am a guardian of the individual spirit and an advocate for the protected spaces that nurture that spirit, I acknowledge the need to connect individuals through their idiosyncrasy. I've been imagining how we could create public spaces which support people to be alone with themselves - among others. Perhaps it's something like a cloister where there is traffic and passage but which have a contemplative quality that allow people to reflect and revive.

I guess I was also attracted by the comparison drawn between Ito's latest design for a new opera house in Taichung and a choreography that acknowledges the complex contradictory quality of humanity.

The sense of inside and out, of stillness and motion, becomes a complex, carefully composed dance.

It is a striking vision, as beautiful as anything built in the past decade. And it sums up Mr. Ito’s philosophy about both architecture and life, about the need to accommodate the many contradictions that make us human.

Tattered Outlaws: We opened

Owners came, friends came (having painted walls in the tower while rain seeped down them), a mayor spoke. Dan and his son, Zach, wore linen suits.



We gave Caroline flowers to thank her for joining us on the journey. We had a big marquee and Irish music. There were queues of people to make it to the viewing platform. I had to breath deeply when I couldn't turn on the power and Dan couldn't turn on the power. But Zach saved the day with the rhetorical question: 'Shouldn't that be plugged in?'







And here's how it all began and ended up. Footage from our very first visit to Skerries and from the day of the opening.

Tattered Outlaws of History / Public Arts Project from Fingal Arts on Vimeo.

Beijing Parkour - making sense of Beijing

The Goethe institute in China has published a pamphlet called Beijing Parkour, assembling a series of maps and elevations of various districts in Beijing that together creatively revisioning space in the way that Parkour encourages.

The pamphlet contains an interview with Michael Kahn-Ackermann. He was an exchange student in Beijing in the seventies and returned there as director of the Goethe Institute in China in 2006.

In the interview, conducted by Shi Jian and Cui Qiao, the institute's Commissioner for Cultural Programs, Kahn-Ackermann discusses his own cross-cultural experiences:

Cui Qiao: What do you think Beijing is lacking?
MKA: Beijing lacks - I'm not sure what it's called in Chinese, but it's the urban atmosphere of a major metropolis. Beijing has it all except for that particular atmosphere of its own. Shanghai can't compare to Beijing in many respects, and from a cultural perspective Shanghai is a desert, but it has that atmosphere, which you can sense if you're walking around. Beijing's problem is not one of size but one of space. It's empty, regardless of the area you're talking about.
SJ: Not the notion of emptiness in traditional Chinese culture, but geniune emptiness.
MKA: Pure emptiness.
SJ: There's no urbanity.
MKA: Right, no urbanity. I feel that the fundamental issue is that old Beijingers have a sense of mission. In the 70s, Beijingers could still feel that it was "my Beijing" - they "administered" the city; sure, they way they administered it was not by demonstrating, not like the citizens of metropolises in the west, where if you want to put up a tall building, a crowd will form immediately in opposition. Not that type, but it still was absolutely an identification with the city. No matter how large the city grew, you could have that sense of mission: this is my city, this is the city I want, this is where I was born, where I grew up, and I will die in this city. Today, because of Beijing's changes, that sense of mission is gone: these changes have nothing to do with me, I'm someone whose life has been transformed, entirely involuntarily. I feel that this is not a problem unique to Beijing, it's shared by all of China's major cities.

What interests me here is the sense that the physical transformation of the city has deprived its residents of the means to identify with their environment. Kahn-Ackermann doesn’t quite explain the difference between earlier change (‘No matter how large the city grew, you could have that sense of mission.’) and this more recent phase of development that has rendered the city empty, even as it is full of gargantuan building projects. Is it the scale of this latter development, that bears no relation to human proportions, that is so alienating?

I’m still flummoxed by the huge towers in the Central Business District. I can rarely find the entrance. Intending to join a friend for drinks in the China Bar at the top of the Park Hyatt in Guomao, I spent a half hour trying to locate the building when I was just across the road from it and another ten minutes pacing the perimeter of the building trying to find the entrance which, in case you need, is on the inside of the building complex. I just don’t know how to read these constructions.

Firecrackers

In the morning I hear firecrackers and late in the evening too. It puzzles me as I don't know of any festivals going on at the moment. I asked my composer friend why people are setting of firecrackers and he explained that in the villages people set off firecrackers to celebrate the completion of various stages of construction: the foundations, the walls, the roof. Each stage is also an opportunity to invite the neighbours to a celebratory meal. So in this culture, each house is also an exercise in community building. A wall can bring people together as well as separate them.

The frequency of the firecrackers in this small village suggests that the building boom hasn't stopped here.