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Ebook Download El Croquis Sou Fujimoto Timely and vital monograph on the work of Sou Fujimoto featuring photographs models plans and texts on Download El Croquis - Sou Fujimoto This El Croquis features the work of Sou Fujimoto, with photographs, models, plans and texts on 19 stellar projects, plus an expansive interview with Ryue.
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A space generated like liquid, soft and flexible. An architecture that produces a land- scape like a garden plowed by those flows. An open architecture with oscillating and meandering limits. Taken from El Croquis, no. We are talking about small models that he uses to prove that the placement of the oval metallic overlays located on the honeycomb structure are not done at random.
This is the case, when we talk about the small folding paper models.
Inside these conceptual models, the working ones stand out. Finally, the re-creation of a forest of elm trees was opted for in the constant attempt to bring a Little Big Models.
The Tools of Japanese Architect Studios tree-like reference to the city. Below, trunks and thick branches become more numerous and thinner as we move up the building, allowing more light to penetrate in the same fashion as occurs in our forests Fig.
The merge of those surfaces create the re-covering of the building: a high multi-shaped wall that looks like a cliff, similar to the image that nature offers us of the Scottish cliffs. The project for the Music Forum, visual dance and culture, Ghent pretends to be an urban landscape such as the outdoor music bandstands of the parks.
That is why it recreates by means of small manual models a system of geometrical creation that illustrates the idea of labyrinthine curves allowing sound to exit in all directions.
These models give you the spatial sensation of being inside a wind instrument Fig. Toyo Ito, Model of spatial creation for the Music Forum, visual dance and culture. Ghent, The structure is composed of posts and beams similar to the ones of Mies Van der Rohe and Le Corbusier. The glass and steel is from Mies and the concrete from Le Corbusier.
For this contest, Toyo Ito made a lot of models. The building suggested in this model was a forest of columns, therefore, it was a highly abstract object. This made the building less abstract. This is an image that expresses the movement of reeds and seaweed moved by the waves and sub-aquatic trees that smoothly sway about. A new place for people. Like- wise, he builds these buildings in the same way as he does the models previous to his projects.
He uses paper, but increasing it up to scale. Shigeru Ban, wickerwork house 2. Taken from: Matilda McQuaid.
This idea of the wall-less-house is recurring in Japanese architects. The concept is to per- petuate the exterior inside the house and the interior of the house outdoors, in a constant continuity and interchange. The entire team met monthly starting in August and a huge model was built for each meeting that illustrated all the aspects that would be discussed in the meeting.
Hannover, Meanwhile, the cave represents natural things and the recreation from 2D to 3D images, and it is the inhabitants who adapt to the shapes Fujimoto b, p. This idea is perfectly captured in his project for the house of the primitive future , where the idea of the cave appears in the shape of sliding slabs that embrace human activity.
It is clearly visible in his work model that the cave does not need to look like one to be a cave. In his houses N Otia and H Tokyo , the idea to transgress the limit between the interior and the exterior in architecture is reflected once again. Sou Fujimoto, work models for the H house, Tokyo, He tries to relate the world and architecture in a different way than established by the laws of physics.
In his projects he experiments with scale, the environment and gravity, surpassing all known physical limits. He does so rehearsing with models Ishigami Small samples of studio paper models are the ones that provide him with the solution to the balance and bending problem that appears when it comes to building his project Table Tokyo , Osaka , Basle , Jerusalem , a table of 9.
Here he investigates with thin paper overlay, the covering of an open area of m by 60 m without a single column. The covering is supported by the outlined walls. In his house of peace Copenhagen , he takes the integration of architecture with nature to the Little Big Models.
Taken from El Croquis no limit, by converting the sea into the floor of a cloud building that fluctuates above the water. This produces a changing interior with the movement of the tides, wind and light which modify the water surface and shape the spaces.
Junya Ishigami looks for a new relation between architecture and the current world, full of rapid changes. For them, the models are their working process for design and presentation of their buildings. Just looking at these photographs we can imagine the way they faced the architectural project. For both of them, the model becomes their way of work. This studio that both parties make up, uses the same working tool.
For them, the architectural project is a question of models. The size of the models get bigger and bigger, but whether we go forward or move back a few steps, we are dealing with something that we repeat over and over again as we approach the actual object. Instead of testing the waters through repetition as we had done up to this point, we use this model until the end, modifying it as many times as needed.
Or on the contrary, when thinking about architecture and its construction, there must be a moment for the abstraction process to take place. A constant process of repetition of three-dimensional models in which barely any detail is chan- ged.
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