1

Design Studio RMIT University Landscape ArchitectureThe University of Tokyo Urban Design Autumn / Spring Semester 1 2010

2

Tokyo VoidDesign Studio

Hiroshi Ota The University of TokyoInstitute of Industrial Science

Marieluise Jonas RMIT UniversitySchool of Architecture and Design, Landscape Architecture

Semester 1 2010

3

In addition to being the world’s largest most populated space, Tokyo has one of the world’s high-est urban densities. In Tokyo, the amount of open non-built up space is 6% of the urban area; in Melbourne it is around 35%. In Tokyo persons have access to less than one square meter of open space on average, peak poplation density ranging to 13.650 persons per square kilometer. What are some of the consequences for (landscape) architectural design?The personal experience of urban density and the limitations of space, as well as the observa-tion of specific strategies of addressing the lack of space are addressed in the students’ individual reflections of VOID.In the tension between dense and void, the studio explored interventions in small vacant plots of land as a medium of experience and as generator for design. Students developed, tested and implemented a culturally sensitive and site-specific design intervention on the ONDI site, a vacant lot in the historically rich and culturally diverse Yanaka precinct of Tokyo. The very brief engage-ment with the intensive and demanding environment of Tokyo led to understanding of design possibilities, experimental and cultural limitations, material, documentation, impact and intercul-tural exchange. The work is linked to Tokyo Void, a research project that is currently undertaken by researchers of The University of Tokyo, Adelaide and RMIT University.

TOKYO VOID

4

void.

Encounter Void. Define emptiness. Devoid of action, meaning, sense, time and things? To who is it void? When? WHY?A vacant lot, space opportunity, a scar in the urban tissue, hidden and con-cealed? 3 % of Tokyo’s urban space? A vast potential, for what, for who?

5

6

what is void?

It is arguable that void space is already ‘void’ [synonym: invalid] in that it does not exist as an entirety or entity. In that there may be no chance for a space to be absolutely void of the tangible and intangible.

The definition and validity of void varies when af-fected by numerous forces. The absence of what-ever fabricates the idea or formation of a space leads to the question of what exactly the space is void [synonym: the state of non-existence] of.In other words: the qualities of space can defined by not only what is present but also what is not present.

There are two sides to a void.

A space that is vegetated is clearly not void of vegetation. However to the fickle lover of trees, the presence of green may promote the emergence of an emotion, of certain pleasantness or happiness. This then leads back to the idea of how the presence of a quality of space leads to the absence of another quality of a space.Thus this green space is now void of anger or frustration, polar opposites of happiness. Does this now mean that the space is still a void? Or that void is particular?

If this is considered through a Landscape Architecture perspective, it means that quantifiable void space can be disputed. Identification of a void leads to another. Defining voids is possibly endless and subjective to the contexts and programs occurring within and out-side of a void space.

7

Kelvin Lui

8

Void [n]: an empty space; emptiness

The way of Zen practice is to maintain an unmoveable position on the floor and to clear the mind of any thought and desire. This practice is called zazen (座禅). When you forget everything, even the purpose of sitting on the floor and put the mind into a state that is purely free of any thought processes, you will find the truth and yourself.

In Zen practice, the void can be defined as emptiness of the mind that disre-gards everything even what you are and what you want.

Achieving this state, that is, the void of the mind, is the purpose of the Zen and the way to find the truth.

In the Landscape Architecture of this view, it is hard to define. Defining real void is to follow the Zen definition of void. The ONDI site is not a totally void space because the space is formed by context. The site belongs to the owner and it is definitely a part of Yanaka re-gion, even if the site does not have any functions and/or buildings.

“The dictionary defines the word, “void” as emptiness. “Void” can be translated as “無” (mu) in Japanese. It is quite familiar in Japanese Zen Buddhism.”

1

9

Void [n]: an empty space; emptinessIn general, on a human scale, void space occurs as a result of a lack of function. I define void spaces as non-functional spaces within a human scale as a gen-eral view. However in Landscape Archi-tecture, ONDI is not classified as a void space as the space holds potential for design. Thus, void space is considered temporal and void is defined through changes over time.

Void space in general [n]: the space with lack of functions

Void space in landscape architecture [n]: the space temporally without func-tions and unused yet has potential for design.

Reference1. Yokoi.N, 2007, new phi-losophy, the meaning of zazen, http://www6.plala.or.jp/swan-song/2/essey0081.html

Hiroshi Yoshinaga

10

Tokyo Void

Tokyo, one of the most densely popluated cities on the planet. How does a void fit into this urban metropolis and what impact can it have on those who inhabit such a city. A void in this context could be defined as a space which is un-used, left over or abandoned. It could also be a temporarily vacant area which creates op-portunities for designers to create space where there seeminlgy is none. This studio has created opportunities to test techniques in creating strategies to activate void spaces.There is also the op-portunity to contrast the spacial organisation of two vastly differ-ent cities Melbourne and Tokyo. The ephemeral quality of the void creates a unique opportunity to invisgae solutions which are outside of the accepted norm of spacial configuration. Tokyo with its many faces and levels of personality is the perfect space in which to test these proposed de-sign concepts as one can appeal.

11

Caitrin Daly

12

What is void? It is defined as an empty space; something experienced as a loss or privation; a gap/opening and a vacancy. (http://dictionary.reference.com/browse/void)

A void space may be seen as serene and still, yet at times, they can be occupied through physically or emotionally by other beings. It seems to be a permanent space but temporalities immerse within it. the temporality of a passing being is not measured through 'a physical distance, but an experien-

tial, relational distance that arises due to the distortion and modulation of space.' (Toyo Ito)

From a landscape's perspective point of view, a void is seen as an element of a context instead of being one whole self. Through an Interior Design's approach, I see the overall en-vironmental context as an interior where there is void in it; it becomes the interiority of an interior.

therefore, there is the inter-relationship between the outside and inside of a void.

the intangible line around a void space may serve as a boundary, dividing the void with other spac-es. They are close yet seperated; another juxtaposition between connection and disconnectivity.

Temporality, thus, conceptualises beyond the definition of a void. rather than just being a lifeless and 'dead' space, void involves movement through the emotional

connections from one point to another, as well as involving different activations at different times within the space.

CONCEPTUAL DRAWING OF A VOID BEING "INSIDE AND OUTSIDE"

13

VOID INMELBOURNETOKYO

I. Natalia Lesmana

An understanding of a term could be very flexible between people according to which perspectives they are looking at and those perspectives often are influenced by personal experiences and backgrounds. Likewise, un-derstanding of what void is, or what void could be could vary between individuals.

What kind of void are you looking at? Void of people?Void of buildings?Void of infrastructure?Void of activity?Void of noise? Void of the greens?

Terrain Vague – a term that describes the left over blank spaces of the city. They aren’t really blank though, they have all sorts of left-overs, existing invisible infra-structures, etc.

V ID

14

V IDNegative space.Subtracted space.Think about their poten-tials, particularly at urban scale.

Jae yeon (Jenny) Kim15

16

17

An undefined space; It’s raw but it’s pure in a sense, abso-lute and unmixed. While trying to bring character to a space giving it variety and a purpose, a void is very often established as a potential for a number of different expression that underlays within.

Existence of a void was not necessarily lack of human activity or a just vacant space. It could be a destitute of sensation, sound, motion, colour, greens etc.

In Tokyo, the voids were rare. Compared to the ones in Melbourne they seemed almost nonexistent. This constrained nature of the voids was more of a challeng-ing task. Activating the spaces was a process of careful insertions as the built environment in Yanaka had a huge impact on the vacant lands.

Akreety Pradhan

18

that was abandoned, unusable or undesirable. Spaces I considered to be void in Melbourne were mostly in industrial, underdeveloped areas or in the central business district and not within typical residential areas. Or if they were, they became unnoticed, hidden within Melbourne’s sprawling urban landscape.

The built environment in Tokyo is constantly changing; space is conceived in an efficient and flexible way, which allows for adaptation and intervention.This efficient use of space has a historical and cultural heritage. For example, the use of paper screens (shoji) allow the interior divisions of a home to change according to the amount of light or space needed over a given time; adaptability, changeability and temporality.

Void is without identity, it is emptiness and decay. A small empty space, or a large open space can both be described as void. Void spaces are inter-related and mutually dependent to the surrounding urban environment. This environment is in a constant state of flux, where intervention leads to growth and transformations throughout the passage of time. Therefore impermanence exists; the nature of void space is temporal.

After participating in the design workshop in Tokyo, I realized that my initial notions of void space in Melbourne were quite limiting. Subconsciously I associated void space with permanence, a space that had become derelict over the course of several years or a space

Bolte Bridge, Melbourne is an example of an industrial void space.

Void & Temporality

19

Ondi, a void space in Yanaka, Tokyo.

populated residential area, not in disused, derelict industrial zones. They are akin to the notion of “a space between two structural parts” like the space between two musical notes, they are actively part of the whole, not separated from it and it is due to the activity surrounding the void that increases the likelihood of intervention and transformation and thus being fundamentally temporal in nature.

Space in Tokyo has an ephemeral nature. The Japanese spatial concept ‘ma’ considers space in relation to time and emphasizes the void space between things in life and art. Ma is the Japanese word for space and translates roughly as “the space between two structural parts” it suggests interval. It is an experiential place. In this reference, all space is believed to be essentially void, solid objects believed to contain voids capable of receiving the kami that descend. Therefore space is perceived as being the events and phenomena that occur in it, and recognized only in time-flow.

The void spaces we studied in Yanaka, Tokyo drew parallels with these spatial concepts. These voids were in a densely

1. http://en.wikipedia.org/wiki/Ma_(negative_space)

REFERENCES

1. http://en.wikipedia.org/wiki/Ma_(negative_space)

2. http://www.columbia.edu/itc/ealac/V3613/ma/ald16t01.html

3. http://www.creativecities.org.uk/atelier-bow-wow-recycling-tokyo/

Simone Ling

20

21

The emptiness in be-tween, ‘Void’. A space for exploration that will possibly lead to never-ending pos-sibilities and infinite discovery. A space of potentially being filled or left to be in oblivion. Some are existing, some are created and some are to be re-created. Empty and yet it is still there, void be-cause nothing else occupies it. A realm of the unknown. A space for abundant thinking and ideas. Li Ting Khoo

22

A void to me is a space without pro-gram, voids are temporary and can be activated in a number of ways.

For a space to be void it does not have to be considered empty of habitat but empty of use, you have to understand how the space functions in order to understand if it can be considered a void or not.

There are many spaces in Tokyo which could be considered void to the pas-ser by but are actually used everyday by somebody in the area.

For example if there is a space 5 me-ters by 2 Meters which was empty of infrastructure and life we would con-sider it void if we were walking past it, but somebody locally could use that space as a car park everyday.

What length of time is this used as a car park, does the site have more potential then this?

POTENTIAL

WHAT IS A VOID?

TEMPORALITY OF SPACE WITHIN A SITE:

23

Temporality in voids are an interest-ing way of considering the use of space through temporary program activation, this gives the space an interesting perspective as like an art gallery it could constantly change the program, be it with the seasons, the weeks or an event calender specifically aimed at the activation of void space.

Understanding how the spaces are used by the locals are the key to successfully activating each space to its full potential.

This is a tempory activation of space but what are the sites uses other then this?

Without understanding the way the site works we cannot decipher its tempoality as a void.

VOID OF MATERIALS

LOCAL ACTIVATION

Matt Whitehead

24

Void is an unused space, ignored, and for most, intangible or invisible but exists. However, void does not exist by itself. It is dependent on manipulation by other objects to give itself a form. Thus it is argued that Void is an interactive space.

Void is flexible as it is not only a three dimensional form; it is four dimensional. Void is always in a state of flux; it changes when inhabited with animate object over time. With the attendance of object, Void co-exists to fill in the negative invisible spaces, unseen or disregarded.

Void exists everywhere, free-flowing through spaces creating invisible boundaries, and intangible spaces. Void is flexible as it doesn’t have a still form but it is expand-able in all directions, directly influenced by surrounding forces or causes and af-fected by the amount, sizes and all sorts of ever-changing aspects

25

Void is emptiness. “People would rather have meaning in void than a void of meaning.” (Friedrich Nietzsche)

The absence is so compelling, that it draws inhabitation. Encouragement of activat-ing the void space then turns into the potential of intentional changing, interven-tion or insulation.

“And if you gaze for long into a void, the void gazes also into you.” (Friedrich Nietzsche)

Vonne Yang Xiang Jing

Architecturally, Void space is the enclosed empty space which makes an essential contribution to the composition; Void is Negative space. It is a penetration of air form filling the space; Void is the surrounding and the context.

Defining the Void-Yanaka

The social spaces through which we live are not only physical spaces-made up of concrete, corrugated iron, glass, wood, tarmac, bricks and mortar - they are also made up of the less tangible spaces between build-ings, houses, across streets, bus stops, park benches, and the relationships that develop among people oc-cupying these shared spaces. These vanant spaces are therefore designated voids. These small local networks link into the wider relationships of districts and cities.

Social space is not an empty arena within which we conduct our lives, rather it is something which we construct around us. It is this incredible complex-ity of social interactions and meanings which we constantly construct, tear down and negotiate. And it is always mobile, always changing, always open to revision and always potentially fragile. We are al-ways creating, in other words, not just space, a ge-ography of our lives, but a time-space for our lives.

The activation of sparse public space, in a climate such as Tokyo, is crucial as minor civic localities which provide a platform in the context of the urban fabric. These are places where people of the local can gather and spend recreational time, or even purely for the enjoyment of the passer by. These spaces provide the opportunity for communities to grow and form social links highlighting their importance. This supports the need for possible development of the site whether it is an installation or even an enclosure of some nature, highlighting the amalgamation of a form with its land-scape in the context of abutting high density living.

THE VOID IN OUR LIVESa notion of temporality

what is void?

26

Mapping Density Variances

Observed Void-Yanaka It becomes clear then that there is a need for a compel-ling long-term vision for developing Yanaka’s vacant lots, a strategy that envisions how vacancy in Tokyo can be changed from an obstacle (vacancy as absence) to an asset (vacancy as possibility). The use of temorary void spaces can contribute to the regeneration of Tokyo.

While the focus is concentrated on Tokyo the idea of regenerating underutilised and sparse in-between spaces is very much becoming a global phenomena. With cities becoming increasingly overcrowded the focus has been on high density living, rather than treating public space. We have therefore identified a deficiency in the provision of adequate public spaces.

Reprogramming embedded vacancies begins with community infrastructure, economics, cul-ture, and nature. Merged with the character-istics of available space, this process creates proposals that are content specific but puposely site generic. Examining the edge conditions between vacany and occupancy becomes our driving force.

27Philip Papas

28

Katerina Krasteva

29

A critical exploration and study of void spaces in a major metropolis – Tokyo has provided me with insights into the development of the city, both culturally and architecturally. Before the trip to Tokyo, my perception of Tokyo is a disoriented mess. This is probably due to the imagery I sort of juxtaposed in my mind – the millions of subway lines criss-crossing the city, the highrise buildings sitting literally side by side and the multitude of neon-lighted signages on every single building facade in certain areas.

As the Chinese saying goes, ‘every inch of land is gold’, this is Tokyo. Where land has been used up for infrastructure and buildings, void spaces become important to inject life

into the city. When we got to Tokyo, we analysed void spaces in Yanaka, through a series of mapping the conditions of the void spaces – private vs public, infrastructure vs structures, boundaries vs boundless, built vs unbuilt, temporary vs permanent, floating vs ground, green vs un-green etc. The mapping analysis revealed the different identities of every void space, whether public or private for different typologies of installations. From there, different design approaches can be applied each particular void space.

30

Aryèn Liaw Per Yuan

In one of the void spaces in ONDI, where it is a privately owned space intend-ed for public use, the conditions are more unique. Surrounding structures and green spaces are analysed and due to lack of green spaces in the vicinity, a temporary in-stallation could explore a floating structure to allow green below. Through a series of mapping, a pragmatic design direction could be derived and imposed in the void space.

31

32

unvoid.

Encounter spatial opportunity. In 1:1 intervention Void is approached through temporary actvation, inhabi-tation. The design experimentation on a vacant site named ONDI informs a design strategy for Tokyo’s urban voids.

33

34

Concept BriefThe main concept for our intervention was to bring in a spatial quality into the site. We tried to push the idea

of an interior perspective into an outdoor environ-ment using a framed box. The box serves as a replica

of a window on how we look at things in Tokyo.

The strings refers to our first-hand experience throughout Yanaka and Ginza in particular. The

"Inside-Outside" concept for the intervention is based on the mappings of the two sites.

In Yanaka, the experience was like a 'Maze'; we en-tered into the site from an open space to a more con-

strained and complexed area, where it was difficult to find our way out. However, in Ginza, the journey

was more about going from the outside to the inside; as we walked along the wide streets, we discovered

hidden, narrows laneways.

Concept Developments

35

inside- [in]by akreety p. & natalia l.

The main idea of the project is the journey we experienced in Yanaka as

well as the whole of Japan. Yanaka preserves as a very traditional Japanese living sytem. As we were depressingly

welcomed by the cemeteries of the site, we were also overwhelmed by

the beautiful traditional landscape of the cherry blossoms. there were many contradicting feelings as we wander around. We felt our whole journey in Yanaka was like a maze, as it was easy to get lost while walking through the

narrow streets and curvy laneways.

Contextualising Yanaka was about thinking the overall site as a labyrinth

while meeting the in-site forces. It is about discovering hidden and

unexpected elements throughout your journey, in a space you are unaware of.

Ginza within Yanaka As we enter the narrow

laneways of Ginza and out to the open streets, it

was like the experience of getting inside and outside; yet you are still wandering

in the maze.

GINZA MODELDIAGRAMMATIC MAPPINGS

Ondi Site

Train Forces

Cemetry Focrces

Floating

Shrines Forces

Forces Pushing Inwards

YANAKATransformation of atmosphere at Yanaka.Can feel the hidden force pushing Yanaka away from the rest of the city, isolating and defining itself.

GINZAInside out, outside in.The FAKE transformation spot in the ginza laneway. Does not feel fully inside nor outside although it is obvious to see that it is a part of a building.It is like a floating space in the middle of nowhere which rises yourself a question.

CONCEPT OF OUR DESIGN INSTALLATION‘Space is a Fluid’it is always floating in between forces like a Parachute.

LOATING spaces in between different forcesF

‘SPACE IS A FLUID’ -FLUIDINMOTION

Aryen LiawJenny Kim

36

YANAKATransformation of atmosphere at Yanaka.Can feel the hidden force pushing Yanaka away from the rest of the city, isolating and defining itself.

GINZAInside out, outside in.The FAKE transformation spot in the ginza laneway. Does not feel fully inside nor outside although it is obvious to see that it is a part of a building.It is like a floating space in the middle of nowhere which rises yourself a question.

CONCEPT OF OUR DESIGN INSTALLATION‘Space is a Fluid’it is always floating in between forces like a Parachute.

LOATING spaces in between different forces

37

D E F I N E S T H E B O U N D R I E S O F I N T A N G I B L E S P A C E

M A T E R I A L

+ + ++ + +

Private space forming an invinsible boundries known as the intangible space and voids were created in between different amount of those intangible space.

38

+ + +

Conflict of spaces require negotiations, as found in Yanaka where the cemetery is a public space formed by a number of individual private spaces, our site, ONDI where it is a private property but pre-ferred by the owner to be utilized by the public, or even the street where a conflict is created when the vehicle gives priority to the pedestrians who walks on the road instead of the associated pathway. Intangible boundaries that exist in between these conflicts of spaces are then compared to the intangi-ble boundaries of personal spaces of the public peo-ple in Tokyo. Our analysis argued that the amount of people in the crowd affects intangible voids that co-exist and the sizes of these voids are then re-lated back to the amount of people in the crowd. Our intervention on the ONDI site is a representa-tion of our studies on different types of intangible spaces in various location situated in Tokyo. Ginza, which is the spacious and organised territory is rep-resented by the main street located on the west of our site; Shibuya or Harajuku which has peak time and off peak time for the massive amount of crowd is represented by the north laneway of the ONDI site; while Yanaka, the extremely dense residential area with very minimal pedestrian is represented by the back alley on the south-east of the ONDI site. Various sizes of paper cups, bowls and plates were then arranged accordingly onto the site repre-senting the density and the ever-changing sizes of intangible spaces created by people during distinctive period of the time and venue in Tokyo.

i n t

a n

g i b

l e

v o

i d

V o

n n

e +

T

i n

g +

H

i r

o

=

T o

k y

o

V o

i d

2

0 1

0

R M

I T

39

40

Do you feel boxed in? Do you want to get out of the city? Are your pot plants tak-

ing over?

The solution is here! Introducing the 100 Yen Garden. The low cost, zero space solution for your dream

garden. Even the smallest of spaces can be utilised to create your personal sanctuary. Anything is possible!

For only 100Yen you can choose your fantasy then change it with your mood or the season.

No time to enjoy the outdoors? 100 Yen Garden func-tions both day and night for a good time anytime!

Create your own garden or pick from our outstand-ing selection of pre-made outdoor scenes - THE

CHOICE IS YOURS!Available for purchase now!

Found in Vending machines around Yanaka

41

Why we made this?

Have you ever noticed that there are no spaces in Tokyo to just be free? The 100 Yen Garden was inspired by research into the Yanaka region. Several mapping exercises revealed the high level of programming and lack of open spaces. This design al-lows you to create space where there isn’t any. We take the 3D into the 2D! This means that through the use of projection you can get rid of objects that unnecessarily use 3 dimensions. The 100 Yen Garden can also be used create new open space within your community, utilising areas such as temporary land vacancies, For as long or short as you like. The 100 Yen garden is revolutionis-ing the way we can use the outdoors! Who says you need lots of space to have a great space! 100 Yen Garden in

action!

Stay tuned for upcoming products!

Caitrin DalyKaterina Krasteva

42

We also observed the juxtaposition and duality between the modern and the antiquated in Yanaka due to gentrification and how they are both interconnected. For example, due to increased development in the greater urban environment there is an increase in the amount of vehicle traffic in Yanaka and a response to this by local residents is to expand their potted gardens onto the street to encourage the vehicles to slow down and therefore prevent accidents.

When contemplating the design of ourspatial intervention for the void space (ONDI site) in Yanaka we wanted it to visually capture the essence of a life cycle, something that changed over time initially by growth and subsequently by decay. It was essential that the design was modular, to reflect a cell structure of an organism, and that each piece was to be constructed and stitched together on site. The materials used were paper and cotton because of their temporal qualities, as they are organic and would eventually decay. The placement of the intervention was purposefully connected to a tree and expanded through the void space thus signifying expansion and growth of an organism.

REFERENCES1. http://en.wikipedia.org/wiki/Shinto_shrine

2. http://en.wikipedia.org/wiki/Ise_Shrine

Designed and tested by:

Simone Ling& Kelvin Lui

43

ON

DI

Inte

rven

tion

After approaching Yanaka, Tokyo through a series of mappings and investiga-tions, we started to view Yanaka as an organism and the voids as being disruptions in the surface.

Our initial context analysis showed us that Yanaka was shaped by geomancy, and due to being undamaged by World War II bombings the area was also quite antiquated giving it a traditional Japanese style. We discovered that Shinto shrines are demolished and rebuilt every 20 years, and since there are about 70 shrines in Yanaka, this was quite significant. The reasoning behind this is part of the Shinto belief to recognize death and the renewal of nature and the impermanence of all things (wabi-sabi). Also due to earthquake building regulations, many resi-dential and commercial structures are demolished and rebuilt every 50 years. These forces contributed to our approach as viewing Yanaka as an organism with its own unique life cycle which experiences decay and regrowth over a span of time

44

Ondi InterventionOur aim was to create a space which acted as a shelter as well as be interactive. We proposed to do this by putting up string lines across the site and asking people to bring their umbrellas, hanging them on the string lines when they arrive at the site.

45

Materials used had to be redily available and cheap

Testing the concept led to realising the unstable nature of the umbrellas with wind so we also looked at ways to quickly fasten them to the string line.

String

Umbrellas

Hooks

The concept worked with variying levels of success, it kept us drier then the tent, but was voilitle when it came to the wind.

On Site @ Ondi

Materials

Philip PapasMatt Whitehead

46

strategy.

47

Taking the spatial, social, cultural and environmental potential of Tokyo’s urban voids into account, strate-gies for encounter and experience, underatnding and appreciation of VOID are sought and developed in the Tokyo Void research project currently undertaken by Marieluise Jonas, Heike Rahmann, and Hiroshi Ota.

Tokyo Void aims to promote the potential for re-appropriation of space and hopes to foster the idea of ownership and power to shape space through shared and informal encoun-ter. The driver for this lies within the communal aspects of peaceful Japa-nese society, that long has been built on sharing experiences in neighbor-hoods and through cultural activities.

The design strategies propsed here are visions informed by a two week encounter of Yanaka and a semester long study of VOID in both Melbourne and Tokyo.

48

The void spaces are a form of decay which puncture the skin of Yanaka’s urban fabric and this decay is part of the organism as a whole (see diagram above). Each void is part of a greater network, like a cell structure, and when connected and activated they are no longer a form of decay, but rather a growth that transforms the network. The following algorithm was also devised to describe the overall conditions of Yanaka:

Y = (V + ExL) + R

Yanaka is the sum of Void spaces and the Existing built environment multiplied by Local informal use of space (informal gardens and interventions) plus the building Renewal cycle (traditionally every 20 years for Shinto shrines and for earthquake regulations, every 50 years for other structures).In resolving the task of designing a strategy for the temporary use of Yanaka’s void spaces in a network, rather than to physically build something on site, or predetermine the use, I have designed a network usage infrastructure

Yanaka is a neighbourhood in Tokyo, a small part of the greater YA-NA-SEN area, which is made up of Yanaka, Nezu and Sendagi. As it was left unscathed by the bombings of World War II, early 20th century culture and architecture is still visible there giving it a traditional Japanese atmosphere which is popular with foreigners, (many western tourists were spotted during our workshop). There are close to 70 temples in the colourful neighbourhood, many crafts people that specialize in an assortment of traditional techniques reside and trade in the area, also many galleries ranging from traditional Japanese art to modern art with an international scope, for example SCAI THE BATHHOUSE gallery.

In approaching the task of creating a sense of awareness of void potential in Tokyo, I devised a spatial theory defined by an algorithm and illustrated by a living organism. It was my aim that this theory and way of interpreting data would be able to translate to other environments, including Melbourne.

Void space potential, user network diagram.

Floating City

By Simone Ling

49

Interface of Floating City, iPhone application.

love hotel phenomena, tiny bars of the Golden Gai where the distinction between public and private is certainly blurred, and the inhibitions of people enjoying themselves in Yoyogi Park (which appears one of the few open spaces where there are no predetermined regulations of use) on a Sunday.

Due to Tokyo’s efficient use of space, the potential of the void is an extremely valuable opportunity and I feel that a temporal solution must be as efficient as possible to keep with the changing pace of Tokyo. This is why I chose to develop a usage infrastructure, rather than create one predetermined use and build on site. Unless these voids find ownership and become developed in a more permanent way, they should be flexible to serve the community as a space for a garden market one day, the meeting spot for a dog club the next etc. Unless sufficient data is available to determine a useful, efficient solution, the demand should dictate the use and not the other way around.

so that the resulting use in the site is the most efficient as it is determined by the user and user community, and keeping the use temporal as it is ever changing. The result is an evolving network which can be likened to an organism, as once online and live, will continue to grow in an efficient and self-sustaining manner. By using the format of an iPhone application, Floating City becomes a unique method to interpret data in an intuitive way and increase awareness of void spaces. The name Floating City was chosen as it is temporal, and the digital media (AR) floats above the built environment. This digital organism reveals voids, develops awareness and creates a dialogue between local and outside users.

My reasoning behind this solution is inspired by my fascination and admiration of the efficient use of space that is present throughout Tokyo. The general lack of private and public space (where people can relax and use in a free manner) has resulted in a series of witty solutions such as the

Application icon on interface Select void space on GPS network Link to blog / community network

50

Rhizomatic system; In the botanical sense, a rhizome is a chracteristically horizontal stem of a plant that is usually found underground, often sending out roots and shoots from its nodes.

The plant sends shoots up from nodes in the rhizome, creating what look like many separate plants. These seemingly unrelated individuals are actually all connected, through a system that is not immediately visible to the eye.

Different spatial experiences in Tokyo, from the more dense area to the less dense.

Concept and Mappings

Overlays of mappings; a network which spreads from various points creating a system of multiple connections.

51

A temporal dwelling of space integrating a rhizomatic system which branches out to the other voids creating an endless network of transitions and dynamic spatial qualities. The form derives from the mappings of various journeys in Yanaka and the overlaying of maps where there is a singular element of connection and a temporary shelter which is everchanging.

Proposed Design

Experiential model which shows the network of Yanaka and its organic form which blends into the essence and nature of void spaces.

Temporary intervention at ONDI, Tokyo. Li Ting Khoo

52

TOKYO VOID 2010

Using the space: the space would remain a community space where people could culti-vate for their own group, the site would work through an organised Guerilla Gardening scheme where people could become “friends” of the garden to join in. Membership would involve helping to maintain the garden.

Below Ground“The utilisation of space”

Above Ground“The Void”

Exploring the space:

As you can see from the images on the surface level the void remains the same as it currently is with the addition of a lockable stairwell, This leads the infrastructure underneath which is engineered to allow for building on top of so the space above can later be activated for a new purpose and not interrupt the garden underneath.

Utilising theHidden Void

53

Modelling Yanaka:

This map model shows the connection between the voids and how they can be utilised within the community environment. The aim to connect the voids to make them a part of the community is aided through the connection of the Yanakas main street- Yanaka Ginza Dori. By utilising this as the central point the locals are able to pass through the area and collect their produce for their meals. The voids are connected through the streets and lane ways and the mapping aims to show a sample of how traffic will move through the area once the voids are activated. Moving from one seasonal produce void to the hydroponic void, then to the main street to pick up meat, spices etc.

Matt Whitehead

54

55Caitrin Daly

56

57Philip Papas

58

59I. Natalia Lesmana

60

Tokyo Void2010

RMIT University School of Architecture and DesignArchitecture, Landscape Architecure and Interior DesignLower Pool Design Studio Semester 1 2010

Akreety PradhanCaitrin DalyHiroshi YoshinagaJenny KimKaterina KrastevaKelvin LuiLi Ting KhooMatt WhiteheadNatalia LesmanaPer Yuan Liaw Philip PapasSimone LingVonne Yang Xiang Jing

ONDI [音地]A vacant site in Yanaka, Taito-ku, Tokyo. ONDI [lit. the sound of a site] owned and maintained by Toshiyuki Makizumi and his wife Yoshiko Yanai architect and real estate agent who wish to build their own design on the site one day. In the meantime, the vacant site is managed and rented to artists, artisans all who have an interest and need for open space for performance, market or exhibitons. Yanai-san told us: we don’t want to have another parking lot in Yanaka, this only attracts more cars, also we love the democratic space we create each weekend.http://ondi.exblog.jp

Thank you to all who kindly helped to realize the Tokyo Void design studio 2010!

Makizumi-san and Yanai-sanThank you very much for giving ONDI to us for free for one week in April 2010, and thank you even more for understanding and promoting the potential of VOID.

Hasegawa-sanThank you very much for your critique in the most unusual circumstance: a design exhibition on site at 4degrees and rain. A true landscape architect who did nothing but to critically ap-preciate the student’s hard work even then! Thank you!Studio onsite/ Landscape Architecture Design Practice http://www.s-onsite.com/

Hiroshi Ota, IIS University of TokyoHeike Rahmann, University of AdelaideAnnie Huang, Fuij Laboratory, IIS University of TokyoTaku Inagaki, Ota Laboratory, IIS University of Tokyo

http://www.tokyovoid.com

61

Thank you!

どうもありがとうごさいました！

62