FLOATING PUBLIC SPACE
Walkerjohn
On the design of the Niigata Performing Arts Center
1. ISLAND HOPPING
Because the Niigata Performing Arts Center project is an extremely
complex
project, I have long sought for a simple metaphor to summarize its
fundamental concept. Recently, I have been using the term 'island
hopping'
for this purpose, with its implied imagery of flight and loose,
non-linear
movement. As opposed to more closed systems, 'island hopping' implies
a
choice of paths, connections, and disconnections--a freedom that I
strive
to incorporate into my architecture. Translated into a landscape, it
might
be interpreted in the guise of floating green islands, or
archipelagos,
another metaphor I will return to later.
Over the past ten years, consideration of the waterfront transition
zone
between port and city has been an important part of my work. Studying
these complex edges, with their plurality of life, unique rhythms, and
involved interrelationships, has given rise to an understanding of how
these properties might relate to architecture itself. From this
research
came the aforementioned 'island hopping' concept--where the process of
making architecture is likened to an archipelago, an eccentric island
pattern. It is a poetic act, similar in spirit to the composition and
performance of music.
In the case of the Yamanashi Fruit Museum, we began with a concept and
image sketch of flying fruit seeds just landed on the ground. These
shapes, like rolling dewdrops on a lotus leaf, were then translated
into
glass domes--natural shapes that express the balance between gravity
and
the surface tension present in a water drop. Water ripples produced by
wind, and other water metaphors became a model for the architecture.
It
might be said that the competition model for the Niigata project is an
extension of this imagery, taking on the form of seven water droplets.
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2. THE PUBLIC CHARACTER OF THE WATERFRONT
I believe that waterfront spaces have a great deal of potential as a
model
for public space. Japan is a long continuous island chain divided in
the
middle by high mountains, and the waterways that shed from these
mountains
to the sea have historically been the origin of human settlement,
particularly where these watersheds meet the ocean. These
geographically
complex areas clearly exhibit the change of seasons (Spring flowers,
Autumn
foliage, Summer's long days and gentle weather) and became a natural
choice
for human settlement, public life, and subsequently, art. Over time, a
strong relationship between the waterfront and people developed. Water
itself is, in one sense, the cultural root of these regions.
Niigata, originally a series of floating islands located at the mouth
of
the Shinano River, is one such 'water' city; the physical changes of
this
Shinano River mouth area have a direct connection to the city's
cultural
history. Once an important port connecting Northern Japan to the rest
of
the world, Niigata had relatively early contact with foreign cultures.
When the city was still young, the Shinano River mouth area was an
archipelago, water canals connected the streets to each other and to
the
river and ocean, and willow trees lined these streets. Niigata was a
port
city immersed in and surrounded by the fluctuating rhythms of nature.
However, as it modernized, much of this character was lost. Canals
gradually were filled into roads, and by the beginning of the Showa
Era
(the 1920's), the site of our project had also begun landfill
operations.
In view of this history, our initial concept--to establish a green
archipelago on this site--is a return to the original landscape of
Niigata's waterfront. By re-creating this latent scenery (where
Niigata's
culture originally thrived), we hope to stimulate a similar sense of
'publicness' at this new center for the performing arts. We also felt
that
this 'archipelago system' was not just a model for developing this
single
site, but could be multiplied and extended as a system for
revitalizing the
entire city of Niigata.
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3. FLOATING GREEN GARDENS
One of the major challenges of the competition was the prohibition of
below
grade space (despite the extensive parking and infrastructure
requirements
that threatened to cover the entire site with paving). Another
competition
challenge was the incorporation of existing structures on the site
into the
planned facilities. Given these two conditions, we developed our
initial
concept (a return to Niigata's primordial landscape) into a series of
mid-air gardens, connecting these and the lobbies of the existing
buildings
on the second level with a network of slopes and bridges. At the
ground
level (below the gardens), parking spaces and trees are arranged in a
loose
grid pattern. Taken together, the combination of elements reads as a
new
suspended ground plane in the midst of a green, forest-like
atmosphere.
The mid-air gardens are supported by (again, in line with the natural
theme
of the project) tree-like structural columns. These gardens connect to
the
lobbies of the surrounding buildings to create a flowing circulation
system
from downtown Niigata, through the site, all the way to the Shinano
River.
The floating gardens were created in the image of 'harrapa' (a
Japanese
term meaning field or empty space), but also can support special
open-air
performances and other functions. Included are an outdoor stage
wrapped by
gradually descending spiral slope, a shimmering water stage that
perceptually overlaps with surface of the Shinano River, a floating
pavilion for Springtime flower viewing, and an open area for children
with
lighted benches.
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4. ARCHITECTURE AS A CURTAIN
The Performing Arts Center's main structure is comprised of three
separate
halls--a concert stage, a dramatic arts theater, and a Japanese Noh
theater--wrapped in a light transparent membrane. During the
competition
phase, we considered giving each of the three halls a separate
volumetric
identity and siting, but opted instead to consolidate them in a single
package to facilitate new crossover possibilities. Combinations of
orchestra with Noh theater, Japanese Budoh dance with Modern dance,
Japanese traditional music with Western classical music, Kabuki
theater
with Opera, Art with Drama--all can occur as a result of the close
proximity
of the halls. Three different scenes of a single opera could be staged
in
each of the three separate venues--an impossible task with a more
dispersed
siting strategy.
Niigata is a sake and rice producing region, and, as is typical of
agricultural regions in Japan, retains many local traditional drama
and
storytelling forms. Also, as an active port, Niigata's culture and
education have been influenced by outside ideas for many years,
resulting
in numerous amateur and youth orchestras, and other Western music
performance groups. We thought it was important to take advantage of
this
unique local culture by creating a place where traditional and
contemporary, amateur and professional, and local and international
groups
could work together. Again, the hope was to create a facility that
would
promote crossovers and collaborations previously unrealized in such a
setting.
The lobby of the main building is, like the other nearby facilities,
at the
second level. It was designed to be like a public park--a 360 degree,
twenty-four hour, fully accessible free space, extended onto various
interior levels by stairs, ramps and bridges. An information center,
cafe,
restaurants, practice rooms, gallery, viewing platform, and roof
garden are
located at various points along this public sequence. Because Niigata
has
a relatively cold climate, the lobby is enclosed with a high-tech
double
glazing system. Between the two layers of glass are more layers of
perforated aluminum panels that move and overlap to adjust to varying
weather conditions. A specially developed sensor system monitors
exterior
light and air conditions and controls the air conditioning and
interior
lighting systems in order to lower running costs. Five elliptical
mirrors
in the lobby multiply the lighting effects and serve an important role
in
its conception as a communication space. Reflecting people's movements
and
gatherings and the fluctuating light that passes through the exterior
membrane, the mirrors re-present the interior scene to other parts of
the
building, and even to the exterior (via projections onto the membrane
skin). An ever-changing exterior image for the building is thus
created.
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5. PUBLIC THEATER
Each region of Japan still maintains its own traditions and local
culture,
intimately related to the region's climate and the people's lifestyle.
Unlike commercial theater (which must bring in a certain number of
users
and create a profit to stay in business), public theater should not be
separated from this local culture. In Niigata we aimed to create a
place
where people would gather spontaneously--public in the truest sense of
the
word--and modified the program accordingly. In the case of the 900
seat
dramatic arts theater, we felt that it was important to consider what
kind
of theater would be most actively used in the Niigata context.
Although a
proscenium arch stage (similar to the German Opera House) was proposed
in
the competition brief, we suggested a multi-purpose stage (appropriate
even
for regional Japanese traditional dance or modern dance), and a
movable
proscenium that could accommodate a wide variety of performances. We
also
designed other infrastructure elements--traps, runways, orchestra
pits,
floor materials, cabling, lighting systems--to be fully flexible,
while
still fully maintaining professional and industry standards. The
result is
a theater that is as fit for Japanese Kabuki as it is for a full
Opera. As
part of this design process, theater technology and drama experts
often
came to our office for meetings and information exchange. Through
these
long and intense sessions, we learned that there had not previously
been
many opportunities for Western and Japanese professionals to work
together
in this way; the result was the development of a completely different
kind
of dramatic theory. Though this kind of exchange is exactly the
opposite
process of design development for most public halls, it is my hope
that the
process moves more in this direction in the future.
In the case of the 2,000 seat concert arena, we were concerned that
the
large size might inhibit good acoustical performance, and proposed a
smaller program. Though unsuccessful in reducing the seating capacity,
we
did reduce the hall's overall volume, and therefore were able to
control
reverberation and other acoustic properties more carefully. This main
hall
is fully equipped to accommodate any number of performances, from hall
opera to highly specialized musical performances. The opening
performance
"Ocean" (Maas Cunningham and John Cage's final collaboration) is one
example of an effective utilization of the arena's unique
capabilities.
The Noh theater was also designed to be highly flexible; many of the
traditional stage elements are removable, and the space can even be
naturally lit from a nearby courtyard. With these transformable stage
and
lighting arrangements, it is possible to utilize this space for
Japanese
Budoh dance, Tea Ceremony, Flower arrangement, Japanese traditional
music,
or even Modern dance. In response to requests from the local
residents,
the music pit of the Noh stage can be used as a Tea Ceremony space for
large and small gatherings.
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6. INCLUSIVE MIND
Public architecture is valuable only if it is well used and fosters
regional culture and learning. Currently, elected officials are
expected
to represent a wide variety of users when developing public
architecture--but as society has become more complex, this
representation
has become increasingly outdated. I believe it is necessary to create
a
system of partnership between the public administration and the public
itself, through a combination of programming and planning / management
workshops. As opposed to the current system (where select
administrators
present decisions already taken), a more participatory process is
needed.
Such a process, I believe, would lead to changing inspirations and
lifestyles, and a shift in our cultural development and education.
In order to make public space that truly crosses the life of local
residents, it is imperative to have places where diverse interests can
openly interact. I believe that architecture is intimately related to
living culture, that programmatic flexibility is critical to the
establishment of environments adaptable to the coming age, and that
truly
democratic involvement of local residents is critical to making such
public
space. If there is free participation in the making of architecture,
public space can truly take on the task of bettering human life.
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7. ARCHITECTURE AS PROGRAMMING
Architecture is intimately related to life--from its initial planning
through to its post construction management--and the process of making
architecture has enormous potential. In our experience, the public
administration of each locale is very different, and we have
accordingly
taken very different approaches to our various projects. Also, we have
witnessed a wide range of grass-roots participation within various
administrations. Generally, we try to see the various occupations and
societal roles of the local community residents--shop owners, school
teachers, office workers, etc.--in terms of their specialized
interests,
skills, or expertise. Even future users, grade school, junior and
senior
high school students have wide-ranging and important opinions. Rather
than listening to a select group of representatives, we have found
that
meeting and involving all these people face to face is the best way to
establish trust. To do so, it is critical to have a non-hierarchical
organizational structure. Rather than a process dominated by experts,
we
aim for a think-tank environment, responsive to local ideas and
incorporating frequent presentations about the design. Organizing
symposia
and recruiting staff members from the local population is an important
part
of this process.
With this attitude, genuinely participatory workshops become possible,
and
architecture and programming come to have an intimate relationship
(since
planning, management, support groups, volunteers, guests, and local
experts
are working together towards shared goals). Even after construction
begins, there should be continued dialogue with the community--a way
for
groups to take tours, and for local Universities to use the
construction
site as a learning resource for engineering and architecture students.
These processes, and all the other processes that go into making a
building, should be recorded and distributed on the internet. In order
to
create a place that is loved by the local people, traces of their
participation should be evident. Architecture begins with a concept,
but
exists within a process. Public architecture must incorporate people's
lifestyle and be a place that continuously challenges and activates
the
consciousness of the people; participation by all is essential.
In the case of Niigata, we created and ran the N-PAC Workshop (Niigata
Performing Arts Center Workshop) for three years. Born from an idea
shared
by the Administration that architecture should not be separated from
programming, this workshop trained the planning staff of the new
facility
and studied public hall management issues and the establishment of a
'network' of public facilities. The focus of activity was on public
lectures concerning a wide variety of topics. These helped us to learn
about local opinions, and to create a new audience for the planned
facility. The lecturers (over one hundred in three years) were all
very
active in their respective fields. I personally participated in all
the
various meetings (writing texts, lecturing and attending lectures,
acting
in workshops, and leading round table discussions)-in short,
experiencing
and learning together with the N-PAC staff and local people.
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8. ARCHIPELAGO
Currently there is an exhibition of our work at the NAI (Netherlands
Architecture Institute) in Rotterdam, and an installation designed by
us at
the nearby Boimans Museum. Both of these have as their common theme
'archipelago,' a term that describes the diverse vectors tested by our
projects. 'Inclusive mind' is another term that might be used to
describe
this approach. Among the many factors that account for architecture,
we
believe an 'archipelagic' or 'inclusive' process accounts for various
project conditions, the complicated and varied opinions of people, the
plurality of relationships involved in architecture, etc.
Conceptualizing
architecture in this way is therefore akin to island hopping, a
non-linear,
eccentric way of thinking--in a certain sense overlapping the way
information is exchanged on the internet.
9. PROCESS CITY
The book New Wave of Waterfront, based on the 'process city' concept,
will
soon be re-published by Shinkenchiku-sha. Fundamental to the notion of
a
'process city' is my belief that buildings are part of a long and
changing
continuum well after they are first conceived, designed, and built. As
such, an inclusive, multi-layered approach to design is essential.
While
the city has its own irregularities and a built-in sense of chaos, I
believe it has still undeveloped potential for even more of this
positive
fluctuation. In particular, waterfront areas have an abundance of
ever-shifting winds and tides that comfort because they resonate with
human
and musical rhythms. Ultimately, architecture and the city also work
with
these rhythms; therefore, incorporating natural cycles in the creation
of
new places is necessary.
Fluctuation is a concept incorporating notions of freedom and
dissipation.
Like the never ending, indeterminate process of living in the city, it
is
impossible to forecast. Our research on the 'process city' points to
an
architecture that incorporates the collective memories and latent
nature of
the city, as well as the open possibilities of flexible, empty space.
The
rapid aging of society should be considered in these terms--how it can
be
mobilized to create a softer, feminine, and more positive environment.
Along with these more conceptual notions, the 'process city' should
also
consider water usage, plantings, and other ecological factors in order
to
both preserve and create nature. It is my hope to make an architecture
incorporating the fluctuations and flowing processes of everyday
life--environments that change and adapt together with our life
changes.
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