A wooden building that harmonizes with Ohori Park’s abundant nature so you can enjoy its view. In our minds, realizing this vision would require a clean structure. Conventional Japanese architecture uses many materials, so there is a tendency for all that visual information to dominate the field of view. However, by fusing cutting-edge lumber technology with traditional Japanese woodworking, we were able to create a simple structure using no metal at all. Building upon existing values to manifest new ones, as it should be. A space where you can take in the scenery of Ohori Park in its natural light enveloped in the fragrance of fresh wood.
Ohori park is beloved by the people of Fukuoka as a place of recreation and leisure. Each day finds it brimming with people, whether it be locals out for a stroll or sightseeing visitors.
Park-PFI is a recreational people’s initiative that promotes the beautification and revitalization of Japan’s municipal parks by taking proposals from private firms to design and implement new projects. The initiative announced it would be accepting proposals for the design and construction of a two-story wooden structure to be built near the Japanese garden on the southern premises of Ohori Park. The call stated that, in addition to spreading awareness for the Japanese park and improving its accessibility, it should also help promote one of Fukuoka prefecture’s special products, Yamecha, a locally produced tea.
From the designated site within the park grounds, a naturally lit, beautiful park landscape opens up before you. We aimed for an architecture that would not get in the way of this natural view, and furthermore, would mesh well with the adjacent Japanese garden. We endeavored to design something that would not draw attention to itself, but rather, act more like a rooftop laid over the park. Also, rather than just making something in the traditional Japanese style, we wanted to demonstrate some new possibilities in wooden architecture by fusing cutting-edge lumber technologies (like CNC woodcutting machinery) with traditional practices of Japanese wooden architecture that have been passed down through the ages, including the use of wooden joints instead of metal.
For our plan, we devised a structure using cross-laminated timber (wooden boards comprised of thin adhered layers, stacked so that the grain direction alternates in a perpendicular fashion) to develop wooden cross-beam supporters, which anyone can hammer into place themselves with nothing more than a wooden mallet—no need for any electrical tools.
Rhythm (from Greek ῥυθμός, rhythmos, “any regular recurring motion, symmetry”) generally means a “movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions”. This general meaning of regular recurrence or pattern in time can apply to a wide variety of cyclical natural phenomena having a periodicity or frequency of anything from microseconds to several seconds (as with the riff in a rock music song); to several minutes or hours, or, at the most extreme, even over many years.
In the performance arts, rhythm is the timing of events on a human scale; of musical sounds and silences that occur over time, of the steps of a dance, or the meter of spoken language and poetry. In some performing arts, such as hip hop music, the rhythmic delivery of the lyrics is one of the most important elements of the style. Rhythm may also refer to visual presentation, as “timed movement through space” and a common language of pattern unites rhythm with geometry. For example, architects often speak of the rhythm of a building, referring to patterns in the spacing of windows, columns, and other elements of the façade. In recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by Maury Yeston, Fred Lerdahl and Ray Jackendoff, Jonathan Kramer, Christopher Hasty, Godfried Toussaint, William Rothstein, Joel Lester, and Guerino Mazzola.
It’s not a thing where we wanted the construction to start and end without anyone ever having realized it. We actually wanted the locals to participate in the construction process and feel like they were connected to their community. We wanted something that could help give people a sense of stewardship through participation—that what we build together is a place where can belong together.
This is an architecture realized by taking advantage of the various perks of CLT, woodcutting, etc, and combining them. It is at once simple, spacious, and open. With windows on both floors facing out toward the garden (11m; 5.5) All you need to do is open either of them to feel like you’re outside. Also, our plan specifically avoided installing a gutter on that front window side, so you can relish in the soft trickling of rain.
In the months following the completion of the terrace, many visitors have been drawn to its pavilion. It’s gearing up to be a new sightseeing hotspot in Fukuoka.
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