Founded in 2004 by Koichi Suzuno and Shinya Kamuro, TORAFU ARCHITECTS employs a working approach based on architectural thinking. Works by the duo include a diverse range of products, from architectural design to interior design, exhibition space design, product design, spatial installations and film making.
Amongst some of their mains works are 'TEMPLATE IN CLASKA', 'NIKE 1LOVE', 'HOUSE IN KOHOKU', 'airvase' , 'Gulliver Table' and 'BigT'. ‘Light Loom (Canon Milano Salone 2011)’ was awarded the Grand Prize of the Elita Design Award. In 2015, airvase is selected for permanent collection of Montreal Museum of Fine Arts.
Published in 2011 were the 'airvase book' and 'TORAFU ARCHITECTS 2004-2011 Idea + Process' (by BIJUTSU SHUPPAN-SHA CO., LTD.) , in 2012, a picture book titled ‘TORAFU's Small City Planning' (by Heibonsha Limited) and in 2016, ‘TORAFU ARCHITECTS Inside Out' (by TOTO Publishing).
Visit the Website: http://torafu.com
Contemporary and modern architecture of Iran will be presented at Archi-Depot, a museum in Tokyo, Japan, dedicated to architecture models.
Iranian architect Mehrdad Zavareh-Mohammadi has curated the exhibition of Iranian architecture due to open March 6.
The event is being organized following an invitation from the Architectural Institute of Japan. An estimated 80 architecture models will be displayed at Archi-Depot. The models are from projects that have already been completed and include houses, apartments and villas, ISNA reported.
The two-month exhibit will include three sections. The first will represent architecture from the First Pahlavi period (1941-1979). “This section includes 20 prominent projects such as the iconic Azadi Tower, City Theater, Tehran Museum of Contemporary Arts, Carpet Museum, Niavaran Cultural Center and the senate building (all in Tehran),” Zavareh-Mohammadi said.
The buildings will be presented via models, slide projection, videos, documents, graphs and blueprints. About the second section, he said it will comprise projects designed for various Iranian cities by notable architects from Japan and other nations. “The projects were suspended for a variety of reasons including the Islamic Revolution in 1979.”
The third section contains contemporary projects in the four categories of public, infill (rezoning of land in an urban environment, usually open space, to new construction), monad (isolated self-sufficient and smart constructions in nature) and unbuilt projects of large dimensions.
“On the sidelines of the exhibition, scientific and research symposiums will be held, where notable architects such as Arata Isozaki, 86, and Riichi Miyake, 69, from Japan, as well as Ali Kermanian from Iran will speak.
After Tokyo the exhibition will be held in Tehran, Isfahan, Shiraz and Mashhad.
ARCHI-DEPOT Museum serves as storage-archives for preserving the form and the value of architectural models, which represent architec[tural culture of respective epoch and region. It provides the most appropriate protection system by achieving original unique conservation technology.
ARCHI-DEPOT Corporation was founded in 2015 with the intention of preserving and developing the Japanese architectural culture as well as propagating its values to both Japanese and international communities. The Corporation aims at succeeding the architectural heritages and historical materials to the next generations and at diffusing the architectural culture through its various activities within and beyond the border.
Continuous safekeeping and conservation of architectural models and records by the way of appropriate evaluation of such objects are, thus, acknowledged as its main task while the creation of a new platform, on which active communication connects the professional community and the society, contributes for the sharing of the resulting values. To do so, the Corporation supports ARCHI-DEPOT Museum and realizes various types of lectures, conferences and local commitment programs both in Japan and abroad.
Visit the Website: https://archi-depot.or.jp
Inagawa Cemetery is located on a steep site in the Hokusetsu Mountain Range of the Hyogo prefecture, approximately 40 kilometres north of Osaka. The cemetery is laid out across terraces and bisected by a monumental flight of steps leading up to a shrine at the highest point – an axis that orients the whole project.
The visitor centre and chapel are designed as a marked threshold between the outer world and a quieter space within for contemplation. Aligned with the central staircase, and as a counterpoint to the shrine, the visitor and chapel spaces are gathered around a courtyard. Visitors approach this space from an exterior platform that leads to a wide, framed central opening in the stepped south-east façade.
The programme is formally arranged under a single, sloping roof plane, following the view line from the entrance up to the shrine. The rooms of the visitor centre open onto the courtyard garden while the secluded chapel remains separate. It can be reached via a discrete corridor, directly accessed from the outside or up a gentle ramp from the garden. An unadorned and quiet room with minimal heating and artificial lighting offers a non-denominational contemplative space, pure in its form. Relying on indirect sunlight from the gardens on either side, the chapel visitor finds seclusion and their focus is drawn to the essential rhythms of time through the natural indicators of daylight fluctuation and seasonal foliage changes. The planting of all the gardens is inspired by the palettes and textures of Japanese meadows and woodlands and a selection of grasses, shrubs and wildflowers are carefully juxtaposed.
On the diagonally opposite corner of the courtyard is the visitor centre. Two large rooms at the lower end of the roof provide for family gatherings and commemorations. The visitors lounge offers an informal area for resting and eating. The memorial room, which can be separated into three smaller rooms by pleated curtains made with washi paper on fabric, offers space for formal feasts after rituals.
The floors, walls and roof are formed as pure building elements and poured from the same earth-like red coloured concrete – honed for internal floors and ground and sandblasted for walkway walls and soffits – giving the overall structure a monolithic appearance. A range of furniture designed specifically for the project consisting of simple, informal painted wooden chairs, benches, tables can be re-arranged depending on the occasion.
Following the axial link between the two ends of the site, a rill carries water down the middle of the staircase from the top of the mountain directly towards the building. As it approaches the lower part of the staircase near the chapel, the running water slows and pools as it collects into a trough, then is diverted through a new underground channel under the site to the nearby canal.
Visit the Website: www.davidchipperfield.com
Once created, architecture has significant influence on townscape,
surrounding people as well as the environment, regardless of its background.
It will remain on that ground for decades
whether it blends into the location or not, or if it’s treasured.
No just design or capabilities, but focus on various architectural essence.
Timeless longevity endeared for years, and guarding people’s lives…
this is the concept we pursue.
Visit the Website: www.horibeassociates.com
“Maggie’s Centre”, led by “Maggie Keswick Jencks Cancer Caring Centre Trust”, is a cancer caring centre open to the people suffering from cancer and their families and friends to empower people to live through and beyond cancer.
Operation and construction costs of the center are fully covered by charity donations from the supporters. The Trust continues to create similar centres across the UK to provide the mental and family-like support to the patient on outpatient basis and in a friendly casual non-clinical setting.
Kisho Kurokawa, who was moved by the intense activity of Maggie, wife of his old friend architect Mr. Charles Jencks, gladly accepted to design the building as a volunteer. The center, standing on the hill overlooking the Swansea bay, celebrated its opening in December 2011, thanks to the two year long effort to raise the sufficient fund after completion of the design in 2008.
Kisho described the design concept of the new Maggie’s Centre as “the cosmic whirlpool, a strong symbol of life, with everlasting forces swirling around a center.” The cosmic whirlpool symbolizing the vigorous life force spreads out its arm from the centre which nestles quietly in the hill, welcoming every guest at one end and leading them to the other end, where there is a meditation space with a Japanese garden with trees, stones, and water.
“The two themes - a link towards universe and a link between east and west - which Maggie and I sympathized are reflected in this design. I trust that she will like it.”
Kisho also wrote a poem to Maggie in heaven;
A life is a small universe.
A universe is a great life.
We can always communicate with a universe of great life.
* 2012 RIBA Regional Award (Wales)
* 2012 RIBA Welsh Architecture Award
Visit the Website: www.kisho.co.jp