IN:CU:RE
Issey Miyake, about Pleats Please Collection
“From the beginning, I thought about
working with the body in movement,
the space between the body and
clothes. I wanted clothes to move
when people moved.”
IN:CU:RE
Comme des Garçons Street Collection
ES:HO:NL
Roland Barthes, The Empire of Signs
“This city cannot be known except
through some sort of ethnographic
activity: you need to find your bear
-
ings by walking its streets, by looking
around you, through habit and experi
-
ence: each discovery is both intense
and fragile, it cannot be repeated, and
only its trace can be left in our
memory: in this sense, visiting a place
for the first time is like starting to write
about it: as the address has not been
written down, it has to found its own
writing.”
ES:VE:DE
Momoyo Kaijima, Junzo Kuroda, Yoshiharu
Tsukamoto, Made in Tokyo
“Tokio muestra un amplio abanico de
tamaños pero, como característica
específica, pueden destacarse los
objetos del tamaño de una máquina
expendedora. En Japón, las máquinas
expendedoras abundan. […] Las
ordenanzas de Tokio estipulan que los
vecinos deben aceptar cualquier
nuevo edificio que se mantenga a
medio metro de distancia del límite de
parcela. […] Estos subproductos
urbanos -tejados, superficies de
pared, intradoses y los abundantes
huecos que aparecen entre las casas-
son espacios vacíos que general
-
mente evitan que se les asigne un uso
predefinido.”
“Debido al alto precio del suelo en
Tokio, utilizar esos espacios acaba
volviéndose deseable. Tal vez la
máquina expendedora sea una espe
-
cie de salvación para esa situación.
[…] Otros tipos como la caja de kara
-
oke, las máquinas de aparcamiento o
los rótulos publicitarios han desarrol
-
lado también una medida específica
para poder colocarse en esos espaci
-
os vacantes. Esos elementos tal vez
sean demasiado pequeños para poder
reconocerlos como arquitectura, pero
también son un poco más grandes
que el mobiliario. Su tamaño sería el
equivalente al de un rincón de una
habitación o de una ciudad, y acaba
convirtiendo el entorno urbano en un
superinterior.”
ES:VE:DE
Karaoke box between buildings in Akihabara
ES:VE:DE
Billboard structures over buildings
ES:VE:DE
Lined-up vending machines in Ochanomizu
TI:DU:IM
Ulrich Schneider, Lost and found: architecture
for an Endless City
“Short amortisation periods and the
fundamental negation of permanency
in view of expected natural disasters
led to the rise of utilitarian and
small-scale architectural construc
-
tions which are practical, cheap,
reversible and nevertheless quite
impressive.”
TI:DU:IM
Ministry of Land, Infrastructure, Transport and
Tourism (MLIT), Japan Government
The average lifespan of a wooden
house in Japan is 27 ~ 30 years, and
for reinforced-concrete apartment
buildings it is around 37 years.
In the US, the average age of a home
before demolition is 66.6 years. In the
UK, it is 80.6 years.
ES:VE:DE
Aerial view over Sumida River, Tokyo
ES:HO:VA
Espacio entre edificios
IN:ME:SO
Outdoor Advertisement Ordinance, Bureau of
Urban Development, Tokyo Government
IN:ME:CO
Toyo Ito, A Garden of Microchips, The Archi
-
tectural Image of the Microelectronic Age.
“The spaces of the contemporary city
are characterised by fluidity, multiple
layers and phenomenality.”
ES:VE:DE
Toyo Ito, A Garden of Microchips, The Archi
-
tectural Image of the Microelectronic Age.
“Architecture has lost the capacity to
maintain its own autonomy with the
dissolution of all attempts to revise
the chaos of the Japanese city […].
Since there is no fixed reality to the
city, architecture can only be actual
-
ised as a fragment of its hybrid body
in which case the city conversely
symbolises architecture and delimits
its capacity to signify.”
Línea de tren Shinkansen sobre Yurakucho
ES:VE:CO
Bares bajo puentes de las vías de tren elevado
ES:VE:CO
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