Agodo Timothy 19/UG/504/BARC-S

ARCH 1105 DESIGN FUNDAMENTALS I

TASK 1 - ELEMENTS OF DESIGN
TASK 2 - USING A COLOURED DRAWING TO
DESCRIBE MYSELF
Personality:
• peaceful
• thinker
• intuitive
TASK 3 - MY FAVOURITE ARCHITECT
 KENGO KUMA
AGODO TIMOTHY 19/UG/504/BARC-S

Taikoo Li Sanlitun
 • Kengo Kuma is a renowned
Japanese architect known for
his innovative and sustainable
designs that harmonize with
their natural surroundings.
However, Kengo Kuma has
gained widespread recognition
and admiration for his
architectural philosophy and
approach.

Asakusa Culture and Tourism Center / Kengo Kuma & Associates

Architectural Philosophy and Approach
• Kengo Kuma’s architectural philosophy
revolves around the concept of
“sustainable harmony.”
• He emphasizes the use of natural
materials and traditional building
techniques to create structures that
seamlessly blend with their
environment.
• His designs prioritize the interplay
between light, shadow, and nature,
aiming to evoke a sense of tranquility
and connection to the surroundings.
• Kuma’s work is characterized by a deep
respect for local culture and history, as
well as a commitment to environmental
sustainability.
 Innovative Designs
• Kengo Kuma is celebrated for his innovative and
visually striking designs that push the boundaries
of architectural creativity. His portfolio includes a
diverse range of projects, such as museums,
cultural centers, residential buildings, and
commercial spaces. Notable examples of his
work include the Asakusa Culture and Tourism
Center in Tokyo, the Nagasaki Prefectural Art
Museum, and the Suntory Museum of Art in
Tokyo. Each project reflects Kuma’s dedication to
integrating modern architecture with traditional
elements in a way that resonates with both local
communities and global audiences.

• Global Influence: Kengo Kuma’s influence extends far beyond Japan, as he has undertaken
projects in various countries around the world. His designs have left an indelible mark on the
global architectural landscape, inspiring other professionals and captivating the public with
their distinctive aesthetic and thoughtful integration with nature.
Biography
Kengo Kuma (born 1954) is a Japanese architect and professor in the Department of Architecture (Graduate School of Engineering) at the
University of Tokyo. Frequently compared to contemporaries Shigeru Ban and Kazuyo Sejima, Kuma is also noted for his prolific writings. He is
the designer of the Japan National Stadium in Tokyo which was built for 2020 Summer Olympics. In 1987, Kuma founded the Spatial Design
Studio, and in 1990, he established his own firm, Kengo Kuma & Associates. He has taught at Columbia University, the University of Illinois at
Urbana-Champaign, and Keio University, where in 2008, Kuma was awarded a Ph.D. in architecture.
Philosophy and writings
Kuma's stated goal is to recover the tradition of Japanese buildings and to reinterpret these traditions for the 21st century. In 1997, he won
the Architectural Institute of Japan Award and in 2009 was made an Officier de L'Ordre des Arts et des Lettres in France. Kuma lectures
extensively and is the author of numerous books and articles discussing and criticizing approaches in contemporary architecture. His seminal text
Anti-Object: The Dissolution and Disintegration of Architecture written in 2008, calls for an architecture of relations, respecting its surroundings
instead of dominating them. Kuma's projects maintain a keen interest in the manipulation of light with nature through materiality.

Material theory
Although remaining in continuity with Japanese traditions with the
clarity of structural solutions, implied tectonics, and importance of light
and transparency, Kuma does not restrain himself to the banal and
superficial use of ‘light’ materials. Instead, he goes much deeper,
extending to the mechanisms of composition to expand the possibilities
of materiality. He utilizes technological advancements which can
challenge unexpected materials, such as stone, into providing the same
sense of lightness and softness as glass or wood. Kuma attempts to
attain a sense of spatial immateriality as a consequence of the
‘particulate nature’ of the light and establishing a relationship
between a space and the natural round around it.
Bato Hiroshige Museum
 In design, Kuma’s aim is to ‘recover the place’. The place is a result of
nature and time; and this is the most important aspect. His architecture is
some kind of frame of nature. With it, nature is experienced more deeply
and more intimately. Transparency is a characteristic of Japanese
architecture; and he uses light and natural materials to get a new kind of
transparency.”

In many of Kuma’s projects, attention is focused on the connection spaces;

on the segments between inside and outside, and one room to the next. The
choice of materials stems not so much from an intention to guide the design
of the forms, but to conform to the existing surroundings from a desire to
compare similar materials, yet show the technical advances that have made
possible new uses.
Commune by the Great Wall of China
When dealing with stone work, for example, Kuma displays a different character from the preexisting buildings of solid, heavy,
traditional masonry construction. Instead his work surprises the eye by slimming down and dissolving the walls in an effort to
express a certain “lightness” and immateriality, suggesting an illusion of ambiguity and weakness not common to the
solidity of stone construction.

In parallel, Kuma showed material innovation to support local traditional craftsmanship through his works. Collaborating with
Japanese craftsmen specialized in wood, earth or paper, he helped maintaining the associated building techniques while
modernizing them, bringing his know-how in modularity. This work led Kuma to win a Global Award for Sustainable Architecture
in 2016.
 Kuma Lab
• Kuma Lab is a Research Laboratory headed by Kuma based in the Department of Architecture, Faculty of Engineering at the University of
Tokyo's Hongo Campus that was started in 2009. In 2012, Kuma Lab published the book Patterns and Layering, Japanese Spatial Culture,
Nature and Architecture, including the research from various Doctoral Candidate Lab members.
• Its research topics consist of a comprehensive survey of architectural, urban, community, landscape, and product designs; survey of structural,
material, and mechanical designs; and methodology for bridging sustainable, physical, and information designs. Its activities include
participation in architectural design competitions, organization and management of regional and international design workshop, joint research
with other departments at the University of Tokyo, and research and proposal to aid the recovery from the Great East Japan earthquake.
Selected works:
• Nagasaki Prefectural Art Museum • Nagasaki Prefectural Art Museum (2005) • Japanese Garden Cultural Village, Portland,
• Taikoo Li Sanlitun in Beijing • Kodan apartments (2005) Oregon, USA (2017)
• M2 building (1989–1991) • Water Block House (2007) • Eskisehir Modern Art Center (2018)
• Kiro-San observatory (1994) • The Opposite House, Beijing (2008) • Japan National Stadium, Tokyo (2019)
• Kitakami Canal Museum (1994) • Nezu Museum, Minato, Tokyo (2009) • The Kadokawa Culture Museum at
Tokorozawa Sakura Town in Tokorozawa,
• Water/Glass, Atami (1995) • V&A Dundee, Scotland (2010–2018) Japan
• Bato Hiroshige Museum (2000) • Stone Roof (2010) • 1550 Alberni, apartments in Vancouver,
• Stone Museum (2000) • Taikoo Li Sanlitun, Beijing (2010) Canada.
• Great (Bamboo) Wall House, Beijing (2002) • Akagi Jinja and Park Court Kagurazaka (2010) • House of Fairytales, Odense, Denmark
• Plastic House (2002) • Yusuhara Wooden Bridge Museum (2011) • "Kigumi Table", Eins zu Eins Germany.
• LVMH Group Japan headquarters, Osaka • Meme Meadows Experimental House, Hokkaido. Japan • Founders' Memorial, Singapore (to be
(2003) (2012) completed in 2027)
• Lotus House (2003) • Wisdom Tea House (2012) • EPFL Art Lab
• Suntory's Tokyo office building • Cité des Arts et de la Culture, Besançon (2013) • Grand Morillon Résidence étudiante,
• Food and Agriculture Museum, Tokyo • Seibu 4000 series Fifty-two Seats of Happiness tourist Graduate Institute, Geneva
University of Agriculture (2004) train (2016)
 Taikoo Li Sanlitun
Taikoo Li Sanlitun, formerly Sanlitun Village, is a shopping center in
the Sanlitun area of the Chaoyang District in Beijing, China. It
comprises 19 buildings on two sites that are a few minutes walk from
each other. Besides retail space, the project includes a 99-room
boutique hotel, The Opposite House.

Architect: Kengo Kuma, Location: Sanlitun, Beijing, Developer:

Swire Properties, No. of stores and services: 240

Total retail floor area: 1,296,000 sq. ft. (120,400 m2),

Website: www.taikoolisanlitun.com/en

Design:
It comprise two sites: The Piazza (Taikoo Li South) and The Deck (Taikoo
Li North). The design of Taikoo Li South is inspired by Beijing's hutongs,
while Taikoo Li North draws its courtyard form from China's siheyuan.
 Hutong
Hutong are a type of narrow street or
alley commonly associated with
northern Chinese cities, especially
Beijing.
In Beijing, hutongs are alleys formed by
lines of siheyuan, traditional courtyard
residences. Many neighbourhoods were
formed by joining one siheyuan to
Entrance to a residence in a hutong another to form a hutong, and then
joining one hutong to another. The word
hutong is also used to refer to such
neighbourhoods. A hutong in Beijing

Siheyuan
A siheyuan is a historical type of residence that was commonly found throughout China,
most famously in Beijing and rural Shanxi. Throughout Chinese history, the siheyuan
composition was the basic pattern used for residences, palaces, temples, monasteries,
family businesses, and government offices. In ancient times, a spacious siheyuan would
be occupied by a single, usually large and extended family, signifying wealth and
prosperity. Today, remaining siheyuan are often still used as subdivided housing
complexes, although many lack modern amenities.

A model siheyuan
 Layout of Beijing Siheyuan
• The four buildings of a siheyuan are normally positioned along the north–south and east–west axis. The building positioned to the
north and facing the south is considered the main house. The buildings adjoining the main house and facing east and west are
called side houses. The northern, eastern and western buildings are connected by beautifully decorated pathways. These
passages serve as shelters from the sunshine during the day, and provide a cool place to appreciate the view of the courtyard at
night. The building that faces north is known as the opposite house. Behind the northern building, there would often be a separate
backside building, the only place where two-story buildings are allowed to be constructed for the traditional siheyuan.
• The entrance gate, usually painted vermilion and with copper door knockers on it, is usually at the southeastern corner.
Normally, there is a screen wall inside the gate, for privacy; superstition holds that it also protects the house from evil spirits. A
pair of stone lions are often placed outside the gate. Some large siheyuan compounds would have two or more layers of courtyards
and even private gardens attached to them. Such is a sign of wealth and status in ancient times.
• The courtyard dwellings were built according to the traditional concepts of the five elements that were believed to compose the
universe, and the eight diagrams of divination. The gate was made at the southeast corner which was the “wind” corner, and the
main house was built on the north side which was believed to belong to “water”, an element to prevent fire.
• The layout of a simple courtyard represents traditional Chinese morality and Confucian ethics. In Beijing, four buildings in a
single courtyard receive different amounts of sunlight. The northern main building receives the most, thus serving as the living
room and bedroom of the owner or head of the family. The eastern and western side buildings receive less, and serve as the rooms
for children or less important members of the family. The southern building receives the least sunlight[citation needed], and
usually functions as a reception room and the servants' dwelling, or where the family would gather to relax, eat or study. The
backside building is for unmarried daughters and female servants: because unmarried girls were not allowed direct exposure to the
public, they occupied the most secluded building in the siheyuan.
• A more detailed and further stratified Confucian order was followed in ancient China. The main house in the north was
assigned to the eldest member of the family, i.e. the head of the family, usually grandparents. If the main house had enough
rooms, a central room would serve as a shrine for ancestral worship. When the head of the household had concubines, the wife
would reside in the room to the eastern end of the main house, while the concubines would reside in the room to the western
end of the main house. The eldest son of the family and his wife would reside in the eastern side house, while the younger son
and his wife would reside in the western side house. If a grandson was fully grown, he would reside in the opposite house in the
south. Unmarried daughters would always reside in the backside building behind the main house.
• When a funeral is held in a siheyuan, the location of the casket depends on the status of the deceased, but all caskets are oriented
so that the head of the deceased points south while the feet point north. If the deceased is the head of the household or his wife,
then the casket would be on the center line in the main house. If the deceased was the concubine of the head of the household,
her casket would remain in the main house, but could not be in the center. If the deceased is a younger male, then his casket is
placed on the center line of the courtyard. If the deceased is a younger female, her casket is placed in the courtyard but cannot
be on the center line.
• Though from antiquity, a siheyuan is a practically sound, engineered structure. Northwestern walls are usually higher than the
other walls to protect the inside buildings from the harsh winds blowing across northern China in the winter. Eaves curve
downward, so that rainwater will flow along the curve rather than dropping straight down. The rooftop is ridged to provide
shade in the summer while retaining warmth in the winter.
• A siheyuan offers space, comfort, quiet and privacy. Siheyuan walls provide security as well as protection against dust and
storms. With plants, rocks, and flowers, the yard is also a garden, and acts like an open-air living room. The veranda divides the
courtyard into several big and small spaces that are not very distant from each other. Family members talked with each other
here, creating a cordial atmosphere.
 BUILDING CONCEPT
Siheyuan layout:
Hutong layout:

• The design of Taikoo Li North (The Deck)

was based on the siheyuan
• The design of Taikoo Li South (The
Piazza) was based on Beijing’s hutongs.
VISUAL DESIGN ELEMENTS
Calm colours to seamlessly
blend into environment
and skyline.

The building spaces are

marked by cuboidal lines
and shape.

Continuity with the

external environment is
emphasized by transparent
external walls (glass).

Repetition – the repeated

pattern of glass panels on
the eternal facades and
cuboidal units creates a
unique rhythm and sense
of movement.
 WHAT I LIKE ABOUT THE BUILDING
The building calmly and seamlessly blends into its surroundings. It is not loud and shouting.

I also like that the building concept was derived from the local buildings but materials used are 21st century materials.
The building gives a sense of lightness, calm and ease.
I like the presence of the courtyard – this allows building users space to just chill and relax.
WHAT I DISLIKE ABOUT THE BUILDING

The lack of a rooftop public space

 REFERENCES
• https://www.Chinese-architects.com
• https://www.worldarchitecture.org
• https://www.e-architect.com
• https://www.architectmagazine.com
• https://www.archdaily.com
TASK 4 - CREATING A HOUSE USING THE PRINCIPLES OF
DECONSTRUCTIVISM AND A PLASTIC BOTTLE
 AGODO TIMOTHY 19/UG/504/BARC-S

CREATING A HOUSE USING THE PRINCIPLES OF DECONSTRUCTIVISM

AND A PLASTIC BOTTLE
 What is deconstructivism
• Deconstructivism is a postmodern architectural movement which appeared in the
1980s. It gives the impression of the fragmentation of the constructed building,
commonly characterised by an absence of obvious harmony, continuity, or
symmetry.
• According to Derrida, readings of texts are best carried out when working with
classical narrative structures. Any architectural deconstructivism requires the
existence of a particular archetypal construction, a strongly-established
conventional expectation to play flexibly against.
Aspects of Deconstructivism I employed
• Fragmentation
• Manipulation of the structure's surface skin
• Non-rectilinear shapes
• Unpredictability and controlled chaos.
• Reverse-engineering (disassembling) an already
existing structure
• Play with/ complication of geometry
• asymmetry and irregularity
The structure I deconstructed

Characteristics of strucutre
• Stability
• Stoutness
• Symmetry
 Steps I used for deconstructing
• Fragmenting the structure (ito different pieces)
• placed the top cone/ pyramidal part up side down.
• cut the mid-section of the bottle into two pieces, one to lie inclined above
the bottom piece; the other to stand vertically on the other edge of the
round base.
• Divide the remaining bottom part cross-sectionally into two parts and
placed these with the edges abutting eachother thus creating open concave
spaces outside the structure
• Use the Paper strip as a roof covering for the structure.
1. Placed the top cone/ pyramidal part up side down
2. Cut the mid-section of the bottle into two pieces, one to lie inclined
above the bottom piece, the other to stand vertically on the other edge
of the round base.
3. Divide the remaining bottom part cross-sectionally into two parts
and Use the Paper strip as a roof covering for the structure.
Sketch