光嶋 裕介 ｜ Yusuke Koshima*1　

Architectural design is a creative act undertaken collectively with many others, and architects are required to realize rich architecture while satisfying external conditions such as client demands, budgets, and laws. It is essential not only to create rich architectural spaces, but also to collaborate with many others through precise communication. In this communication, technical drawings along with words, play an important role in describing architectural ideas. Prior to these technical drawings, architects developed their own ideas through hand drawings. This paper focuses on hand drawings by the architect, which contribute to the discussion of architectural ideas developed after the construction has been completed. Through examining the post-construction drawing of Gaifukan, my own architectural design, this paper aims to test “Kinetic Assembly” theory, which is based on the notion of liveliness inherent to architecture.

Key Words｜Kinetic Assembly, Post-Construction Drawing, Architect, Drawing

 

１．Introduction

１． １　Post-Construction Drawings
Although the act of designing a work of architecture ends with the completion of the building, in the architect’s mind, ideas are continuous with other projects. “Post-construction drawing” is a way to practically create a solid design philosophy through repeated feedback. In my dissertation(1), I discussed the importance of critical creation through practical research on these post-construction drawings. They serve as an opportunity for architects to reflect on their designs and to critically examine and update their own ideas after the construction is completed. By verbalizing architecture, I intend to construct a tentative architectural design theory.

*1　Kobe University Graduate School of Engineering Faculty Department of Architecture
(1-1 Rokkodai-cho Nada-ku Kobe,〒657-8501)
School of Engineering, Kobe University
Email: yk@gold.kobe-u.ac.jp

１． ２　Objectives of the Research
For architects, one of the most significant aspects of designing architecture is to contribute to society through creating rich architectural spaces. However, since architecture is a three-dimensional, non-verbal language, I believe that architectural ideas should be translated into words, or expressed in other media such as two-dimensional drawings.
In this paper, I will attempt to verbalize the architectural idea of “kinetic assembly” through the case study of Gaifukan. The purpose is to use these architectural ideas to test a theory of architectural design using my practice of post-construction drawing.

１．３　Research Methods
In chapter 1, the objectives, purpose, and method of this study are specified. Chapter 2 discusses the position of architectural ideas in architectural design theories by several other architects who had a great influence. Chapter 3 clarifies the author’s tentative architectural ideas based on the notion of liveliness in architecture. Chapter 4 analyzes the Gaifukan drawing as an attempt to verbalize the architectural theory of kinetic assembly.

 

２．Architectural theory by architects

２． １　Architectural theory
This chapter ascertains the position of architectural ideas in design theories by other architects that are relevant to my work. The design of architecture is realized in a way that integrates individual, external given conditions, based on architectural ideas. These abstract idea reveals the richness of the architecture that each architect aims to create. By comparing and examining architectural proposals derived from those architectural ideas, rather than individual works, I aim to situate the relationship between architectural ideas and design theories.

２．２　Metabolism Theory
Kiyonori Kikutake (1928-2011) was one of the leading modern architects in postwar Japan, who developed a design theory that refers to the biological process of metabolism(2). Kikutake’s design method had a triangular structure, comprising “ka” as the essential stage, “ka-ta” as the technical stage, and “ka-ta-chi” as the phenomenological stage. This theory of metabolism aims to realize a system that enables the exchange of building elements in order to constantly update the spaces in a metabolic way, referring to natural process.

２． ３　Discontinuous Unity
Takamasa Yoshizaka (1917-1980), who worked under Le Corbusier (1887-1965), developed an architectural concept he called Discontinuous Unity(3). Inspired by the Discontinuous Tower presented by Buckminster Fuller (1895-1983) during a visit to Japan, Yoshizaka developed the idea of Discontinuous Unity as a law of the universe. This is not a theory for an individual works of architecture, but a way of looking at the world. By understanding the world not as static but as complex and dynamic phenomena, and even if these are sometimes contradictory, the world can be assembled from a combination of things in a tolerant manner.

２. ４　Four-Layered Structure of Architecture
Kazuhiko Namba (1947-), an architect who is widely known for his “Box House” series, advocates a Four-Layered Structure of Architecture(4) as a diagram that gives a comprehensive perspective of architecture. The first layer is physicality (material, construction, structure), the second layer is energy (environmental engineering), the third layer is functionality (planning), and the fourth layer is symbolism (history, design, aesthetics) as meaningful signs. Namba aims to optimize sustainable design by examining each individual building from the four layers and mediating the most suitable relationship.

２．５　Nature of Order
Christopher Alexander (1936-2022) is an architect and urban planner who published his doctoral dissertation as the book Notes on the Synthesis of Form, and proposed many important architectural theories, such as “The City is Not a Tree” and “Pattern Language”. In The Nature of Order Alexander argues that “to make good architecture, we must radically change our conception of nature”(5) and developed the concepts of “life,” “wholeness,” and “center”. Alexander’s aim is to create rich architecture that harmonizes with the chaos of the world through a nested structures of wholeness and centers, embedding life in architecture.

２．６　Chapter Conclusion
Architectural theories by architects point to specific methodologies for designing individual buildings, but they can also be thought of as abstract representations of the rich architectural spaces to be realized. By interpreting and verbalizing the architecture they have designed, each architect proposes an objective value for society, presenting a vision of the architectural spaces that they aim to achieve. Although these are unlike equations through which others can design equivalent architecture by following their specific design theories, I believe that verbalizing the architectural ideas for each project will be effective in creating better architecture for subsequent individual practices.

 

３．A Test of Kinetic Assembly Theory

３． １　Kinetic Assembly
As a practicing architect, I have also been developing architectural ideas through the practical design of a buildings, which I call Kinetic Assembly theory. My aim in understanding architecture as a kinetic assembly is to evoke the liveliness inherent to spaces. This notion of kinetic is based on the concept of dynamic equilibrium(6) proposed by the biologist Shinichi Fukuoka (1959-), while referring to the idea of circulation within Kikutake’s theory of metabolism. Through understanding life as a flow of movement, I aim to express this movement within space. Even though architecture usually does not physically move, I believe that it is possible to express movement through its forms, inspired by the architectural idea of “Vision in Motion” proposed by László Moholy-Nagy (1895-1946), a photographer who guided the formative principles of the Bauhaus.
In addition, designing architecture as a kinetic assembly aims to extend Yoshizaka’s idea of Discontinuous Unity so as to capture the invisible forces of space, and to create tolerances in space. Specifically, the use of diverse materials inside and outside the building show consideration for the relational context of the surrounding site. The aim of creating sustainable design in Namba’s Four- Layered Structure of Archiitecture is shared with Kinetic Assembly. Finally, it also shares with Alexander’s theory of the nature of order, an understanding of life as constantly changing matter, and interprets the totality of the nested structures captured by the center as an assembly aiming toward the harmony of spaces imbued with liveliness.

３．２　　Liveliness in Architecture
The American biologist Stuart Kauffman (1939-) conceives of life as “a proliferating organizational structure that somehow links matter and energy, literally constructing itself by replicating itself in new ways,” (7) and asserts that all living systems are open thermodynamic systems. Architecture is also created by configuring matter and energy, and it is the human body that receives this energy from architecture. The energy that this body perceives in space is the life force of architecture, which I call liveliness. Although it cannot be precisely quantified, this liveliness is considered to be an important value of architecture in Kinetic Assembly theory.
During the construction period of Gaifukan I have been practicing Aikido. Aikido is not a contest of strength or weakness, but a martial art that enhances one’s own life force, which inspired my recognition of liveliness in architecture. This life force, which cannot be quantified, is felt by the body, and it is an energy that is transmitted through special relationships. Since this liveliness needs to be felt through its connection to space using human bodily senses, the architectural idea of Kinetic Assembly is also a non-verbal, unconscious, embodied tactical knowledge, as proposed by philosopher Michael Polanyi (1891-1976), and is always open to the unpredictable. By opening our bodily senses, we may perceive the movement and flow of space as a dynamic force of liveliness in architecture.

３．３　Chapter Conclusion
This chapter clarifies the relevance of Kinetic Assembly by comparing it with Kikutake’s theory of Metabolism, Yoshizaka’s theory of Discontinuous Unity, Namba’s theory of Four-Layered Structure of Architecture, and Alexander’s theory of the Nature of Order. It aims to create harmony through a use of diverse materials and combinations of different forms, expressing the movement of invisible forces, in order to evoke liveliness in architecture.

 

４．Analysis of the Gaifukan Drawing

４． １　Gaifukan
Gaifukan was constructed in Kobe, Japan, in 2011. It is a two-story wooden structure used as an aikido dojo and residence for philosopher Tatsuru Uchida (1950-). The building is characterized by its openness to a wide variety of members, including more than 150 aikido students.
The ground floor (Fig.1) has two entrances, one for the dojo open to the public and the other for private use. The dojo is the main space, an open area for practicing aikido, comprising 75 tatami mats. When these tatami mats are lifted, it becomes a stage made of cypress boards, for Noh theater performances, and behind the north wall another sliding wall reveals the “Old Pine Tree” painted by Koji Yamamoto (1951-). The dojo, being a wide void, makes it possible to hold many different programs, creating an open learning community. Uchida experienced the Great Hanshin Earthquake in 1995, and also envisions the dojo as an evacuation center for future natural disasters.

Fig. 1 First & Second floor plan

On the second floor of Gaifukan, there is a study, containing over 12,000 books, which is a workroom for writing, and a semi-public space used as a salon for welcoming pupils and business associates. In addition, the house contains a master bedroom, dining room, kitchen, bathroom and a toilet.
Gaifukan was designed to be a smooth, continuous large volume, without having distinct private rooms. Each space is given its own characteristics through forms and materials, and the contrasts cause the spaces to stand out individually while becoming an integrated overall space. Each volume having a specific ceiling shape and different surface finish. For example, the exterior walls are individually determined, directly expressing the spatiality of the interiors (Fig.2).
The elements of each space, such as the floor, walls, and ceilings, are designed independently and constructed using only natural materials. In the dojo, natural materials are arranged in a manner reminiscent of Mount Rokko, with the intention of creating liveliness in space (Fig.3).
Fig. 2(left) Exterior (photo by Takeshi Yamagishi)
Fig. 3(right) Interior of dojo (photo by Takeshi Yamagishi)

４．２　Gaifukan Drawing
４．２．１　Dimensions and media of the Post-Construction Drawing
The post-construction drawing of Gaifukan (Fig.4) is a pen-and-ink line drawing on paper, completed in January 2012. The size of the paper is 187mm in height and 300mm in width. A drafting pen with an ultra-fine tip of 0.1mm was used.

４．２．２　How to Draw a Post-Construction Drawing and its Intentions
Post-construction drawing is a drawing that integrates the design intentions, reducing a three-dimensional form to a two-dimensional image. It is an independent method of expression for exploring the language of images. I believe that the multilayered images showing fragments simultaneously is an effective means of conveying the architect’s ideas.
When we perceive architectural spaces, the only visual information we receive is from the direction in which we face the space. A post-construction drawing has multiple images on a single sheet of paper, regardless of whether or not they are simultaneously visible, giving the collage method a sense of wholeness. I also referred to cubism, established by Picasso and Braque at the beginning of the 20th century. To collage multiple perspectives in one drawing, can be an effective way to create and capture a complex image, and to express the sequence of time as an image.
For example, I connected the south elevation and the east elevation in a continuous surface, and drew the interior space adjacent to the elevation, so that the spatial composition of the architecture could be clearly understood. This visualizes the continuity of the interior space of the dojo with the exterior finish of black painted walls.
Combining a variety of expressions in the interior space using diverse materials, so as to create generous spaces, was a primary aim in the design of Gaifukan.

４．２．３　Contrast Effect
By encompassing multiple perspectives in a single drawing, I intend the viewer’s eyes to move around each of the fragmentary images, which have different meanings as symbols, thereby evoking a dynamic phenomenon. An important concept in the Gaifukan drawing is to visualize the energy of thoughts between clear contrasts of multiple viewpoints. For instance, to convey how the roof was designed so as to harmonize with the surrounding buildings, the scale of the building was broken down by using fragmentary roof forms. I drew a perspective from the roof, connecting with the view of Mout Rokko by emphasizing the contrast so that the roofs may be continuous with the surrounding scenery. This smooth continuity of the artificial object and the natural environment expresses a new harmony between architecture and nature.
Contrasts may be made through figurative contrast, material contrast, or scale contrast. The contrast effects have a similar character with the method that Alexander calls “wholeness”. This is not due to a single cause-and-effect relationship, but rather a nested structure of networks and multiple viewpoints with plurality in its meaning.
By maximizing the contrast between each fragmented image in the post-construction drawing, I aimed to increase the complexity of the drawing and create a rich expression of liveliness in architecture.

Fig. 4 Gaifukan drawing (2012)
４．２．４　Mitate Method
In the Gaifukan drawing, I intended to communicate architectural ideas in a more layered manner by translating my thoughts during the design process. Mitate(a Japanese word meaning comparison) is a similar method for comparing one thing with another.
The ceiling of the dojo was designed so that visitors can feel the presence of Mout Rokko, located far behind the building. In addition, the pile of Awaji tiles like a mountain in the alley on the west side of the dojo exemplifies the mitate method. It is intended to transform the visual information obtained by the viewer into an imaginary inner world, so as to feel the liveliness in architecture through an invisible image.

４．２．５　Oku Theory
Architect Fumihiko Maki (1928-) has elaborated the concept of oku(a Japanese word meaning inside) as one of the characteristics of Japanese culture, asserting that oku emphasizes horizontal connections and seeks its symbolism in invisible depths.
In the design of Gaifukan, the individual spaces

are not independent of each other, but rather loosely combined, opening up each adjacent space with the intention of making the visitor feel that the space in which they are standing has further depth. Specifically, the study on the second floor has no separation between the open salon, kitchen, loft, and the residential area, so that each space has a sense of the presence of the space that extends beyond. Horizontal openness is deeply related to the mobility of Kinetic Assembly, which tries to generate movement by designing the space as an open-ended form.

４．３　 Developing Kinetic Assembly theory
After the completion of Gaifukan, I drew the post-construction drawing in order to verbalize my tentative architectural idea of Kinetic Assembly. It exists as an architectural concept that integrates fragmental ideas such as the method of simultaneity, contrast, multiple layered perspectives, mitate and oku theory.
As described in Chapter 3, the basis of this idea comes from the notion of dynamic equilibrium proposed by Shinichi Fukuoka, which views life in terms of constant movement. To express movement in space entails expressing the invisible energy forces through both forms and materials. In the same way that life evolves as a dynamic system that constantly moves and maintains order, I present Kinetic Assembly theory as a way to create lively and tolerant spaces in architecture. This is a tentative idea I would like to continue to verify through architectural practice, exploring various expressions through different compositions of forms and materials.

 

５．Conclusion

Through designing and supervising architecture, architects aim to create rich spaces in which their architectural ideas reveal how they may contribute to society. I believe that it is significant to transmit the architectural ideas within a complex object into another languages, such as words or drawings, and develop these through criticism and discussion.
In addition, in contrast with architecture, which cannot be fully experienced without traveling to the site, verbalized words and visualized drawings can be used as media for broad communication. The development of architectural ideas through two-dimensional images, differing from the language of space, is an effective means to strengthen the basis for creation. The endless feedback through the practice of post-construction drawings contains physicality and is always open towards new discoveries.
The rapid movement of the viewer’s eye generates various interpretations. Rather than a sense of unity based on exclusion, there is a richness and freedom in the coexistence of images. The abstract architectural ideas of each architect are expressed in different ways in each individual architectural work, but the architectural ideas they contain are non-verbal, unconscious themes undergoing continuous pursuit and inquiry. Therefore, I would like to present my architectural idea as a test theory of Kinetic Assembly, including the possibility of future transformation and development.
Through the practice of post-construction drawing, I aim to hone my own architectural ideas by critically creating architectural projects, and to reflect these ideas in further projects, intending to realize a generous spaces possessing great liveliness in architecture. How this Kinetic Assembly may be developed in each architectural project will vary according to the site, budget, function, demands, laws, and other conditions. However, to verbalize architectural ideas and to continue seeking out such non-verbal communication may be significant. I will continue to verify these ideas through my wider practice as an architect.

 

References

1)Yusuke Koshima, “Practical Research on Critical Creation by Post Construction Drawing”, Waseda University Graduate Faculty of Creative Science and Engineering Department of Architecture, (2021)
2)Kiyonori Kikutake, Metabolic Architecture (Tokyo:Shokoku-sha, 1969)
3) Takamasa Yoshizaka, Discontinuous Unity (Tokyo:Keiso-shobo, 1984)
4)Kazuhiko Namba, Four-Layered Structure of Architecture (Tokyo:Inax publishing, 2009)
5)Christopher Alexander, The Nature of Order (Tokyo:Kajima publishing, 2013)
6)Shinichi Fukuoka, Dynamic Equilibrium (Tokyo:Kiraku-sha, 2009)
7)Stuart Kauffman, World beyond Physics (Tokyo:Morikita-shuppan, 2020)