|
 |
| |
|
Architect:
Kengo Kuma (Japan) Villas |
|
|
| |
Our first aim was to learn from the formality of the Great Wall. We were constantly attracted to the fact that the Great Wall has never been an isolated object. The formal quality of it running almost endlessly along the undulating ridge line without being isolated from the surrounding environment was the quality that most intrigued us. Its appeal was as a criticism of the conventional form of 'architecture' that tends to seek to be an isolated object in an environment. Thus our intention was to apply the nature of the Great Wall to the act of dwelling. This is why the house is titled 'WALL', instead of 'HOUSE'.
As for the material, we used bamboo as much as possible, since it possesses a significant meaning among both Chinese and Japanese cultures. Depending on the density of bamboo and its diameter, it offers a variety of options for partitioning the space. In order to make the most of these characteristics, we decided to install a bamboo wall, which is a layer of bamboo along the site's inclination, just like the Great Wall. The Great Wall in the past portioned off two cultures, but this bamboo wall will not only partition but also unite lives and cultures in many different ways.
|
|
|
|
|
|
Gary Chang (Hong Kong) |
|
|
|
|
|
|
|
Shigeru Ban (Japan) |
|
|
|
|
|
|
|
Cui Kai (China) |
|
|
|
|
|
|
|
Rocco Yim (Hong Kong) |
|
|
|
|
|
|
|
Chien Hsueh-Yi |
|
|
|
|
|
|
|
Antonio Ochoa (China) |
|
|
|
|
|
|
|
Kengo Kuma (Japan) |
|
|
|
|
|
|
|
Kanika R¡¯kul (Thailand) |
|
|
|
|
|
|
|
Kay Ngee Tan (Singapore) |
|
|
|
|
|
|
|
Nobuaki Furuya (Japan) |
|
|
|
|
|
|
|
Yung Ho Chang (China) |
|
|
|
|
|
|
|
Seung H-Sang (South Korea) |
|
|
|
|
|