#global spaces

It is important that architects value the concept of time as a part of the language of the built form. It is important to note that spaces have the quality of becoming a live form, in a sense that spaces, like living things, have an inherent life span. Spaces mature and age just like the entities that inhabit it. With that said, the life span of the space is only able to carry on as long as it serves its function. When the day comes that it doesn’t, it is only reduced to the memory of what it once was. However, architects have the power to regenerate this memory and make it come to life again, and maybe even bigger and better than before. This week’s case study is about the International Centre for the Arts, and how effectively it is able to transcend an old architectural memory.

For the first studio project as a second-year student, we are tasked to design a non-denominational spiritual space in the corner of West Church Avenue and Locust Street in downtown Knoxville. This space centers on the ideology of the Quaker community and their usage of a public space called a “meetinghouse” wherein the community gathers to partake in spiritual enlightenment. Being that the space is non-denominational, the design must adhere to the pureness of forms to induce spiritual awakening that can relate to people of all walks of life. That said, for this week’s case study, I feel compelled to share the inspiration that is guiding me through my own design process: The Rothko Chapel.

Beyond the topic of aesthetics, a major part of an architect’s design is the narrative. I’ve always thought that a created object becomes more beautiful once I learn more about the story it is trying to tell. The dialogue between the built work and the spectator is of great importance in architectural design. I believe that it is the architect’s role to narrate a story through conscious design choices. In this sense, the building becomes more than just a built form — it becomes a part of the temporal consciousness of the spectator.

As the global population density increases, harboring and developing habitable spaces has become a contemporary issue for architects and urban planners everywhere. Urban sprawl is imminent; cities are becoming more and more congested by the minute. With high-rise commercial buildings, and compact residential areas, the spaces within cities are narrowing, while the necessities for living conditions are growing exponentially. The role of architects as designers is now heavily vulnerable to the demands of our contemporary age. The definition of “good design” may not completely rely on solely aesthetics. The challenge architects face now is creating beautiful spaces that cater to the fast-approaching presence of urbanization.  When square footage is the biggest determinant of a design, how does one successfully implement aesthetics in the realm of urbanization?

  For this week’s case study, the Imai House by Katsutoshi Sasaki and Associates is the perfect example of relating modes of architectural aesthetics in the urban context. Located in Aichi Prefecture, Japan, the Imai House stands in a narrow alley that is only three meters wide and twenty-one meters long, with a total area of sixty-nine square meters. These parameters sound incredibly unbelievable, but the feat is completely feasible. Built in 2013 for a family with two children, the Imai House took on the challenge of creating a habitable and aesthetically-sound space in the midst of land scarcity.

  According to the architects themselves, they envisioned the concept to center around the occupants, the function of the spaces, and natural lighting. Since the interior has limited space, the architects dismantled the notions of “function-specific” rooms. For example, the living room continues on to the dining room with no set indications of where it stops. The corridors can act as desk spaces, and the terrace could also become a dining room. Spaces are fluid, and can be modified depending on the occupants.  

  The occupants also determine the scale of the interior. The children’s bedroom is only 1.4 meters high, while the living room stands 4.4 meters high. This also helped the distribution of natural light within the interior. The architects wanted to bring more light inside the public areas of the house and bring in less to the more private spaces.

               The influence of nature also became a big part of the design. Because of the limited space, having an outdoor garden seemed unfeasible. However, the architects successfully incorporated an indoor garden at the end of the ground floor and a terrace in the second floor. Moreover, the use of wood highlights the natural elements that make the interior fresh, clean, and simple.

  The Imai House truly exemplifies that there is no such thing as too little space. With an innovative imagination, it is possible to create beautiful and habitable spaces in the midst of rapid urbanization. Even with a limited square footage, the interior of the Imai House is not constricting. It leaves space for each member of the family to occupy on their own, but also enough room for the whole family to come together.

[photo credit: Katsutoshi Sasaki + Associates]