Your browser is out-of-date.

In order to have a more interesting navigation, we suggest upgrading your browser, clicking in one of the following links.
All browsers are free and easy to install.

 
  • in vitruvius
    • in magazines
    • in journal
  • \/
  •  

research

magazines

drops ISSN 2175-6716

abstracts

português
Yuko Hasegawa, texto curatorial da exposição “Sejima + Nishizawa / SANAA: flexibilidade, transparência, amplitude”, em cartaz no Instituto Tomie Ohtake, em São Paulo, de 14 de agosto a 28 de setembro de 2008

english
Yuko Hasegawa, curator of the exhibition text "Sejima + Nishizawa / SANAA: flexibility, transparency, scale" at Instituto Tomie Ohtake, Sao Paulo, from August 14th to September 28th, 2008

español
Yuko Hasegawa, texto de la exposición “Sejima + Nishizawa / SANAA: flexibilidad, transparencia, amplitud”, del Instituto Tomie Ohtake, en San Pablo, desde el 14 de agosto al 28 de septiembre de 2008

how to quote

HASEGAWA, Yuko. Sejima + Nishizawa / SANAA. Flexibility, transparency, amplitude. Drops, São Paulo, year 09, n. 024.04, Vitruvius, sep. 2008 <https://pop.www.vitruvius.com.br/revistas/read/drops/09.024/1767/en>.


SANAA is a team of two architects, Kazuyo Sejima and Ryue Nishizawa. that represents a new style of architecture which emerged in 1995. Rather than focusing on form and design, they begin their process with detailed research of the surrounding community, environment and clients needs; they go through meticulous studies; and draw meaning to form their architectural plans. For instance, they design private houses that are not necessarily for conventional family prototypes Rather, they conceive open architectural programs that are flexible for various real situations.

Non-substantial materials such as glass are often used. By intersecting spaces with the transparent material, they liberate people from pathways, architecturally designed space experience, and perspectives, which had been conventionally pre-programmed by the architects. These basic concepts of SANAA are having a considerable impact on younger generations of architects.

They present a process of maintaining individual styles of living, while forming a field of collective consciousness in the space. The close and intelligent collaboration between the two architects may be also perceived as a process of merging of the two generations through exchanges of perspectives and activating ideas. SANAA’s working method was to lay out the program in the building plan, then raise the spaces into form on this basis. More recently, however, one can sense in curves, free forms and seemingly random orders, the process by which they have moved away from a rigid prescription and are becoming freer. They are driven by a desire to establish flexible relationships with the surrounding environment and site conditions and bring exterior and interior spaces into interaction.

After the success of the 21st Century Museum of Kanazawa, Japan (2004), they developed their architectural language. The composition of the New Museum of Contemporary Art (2007),—a stack of boxes of different sizes randomly shifted off axis—displays a simple lightness of bearing. The building is nevertheless informed throughout with subtle devices aimed at imparting variety to interior lighting and spatial character, in a limited urban setting. The Louvre at Lens (2010), a series of long, narrow volumes connected one to the next in a lightly curving arrangement, also took its departure from the concept of creating a building to respond with fluid intimacy to the shape of its site.

SANAA constructs the basic elements of a design to suit the specific conditions of the project at hand. Of greatest interest in their work, however, are the provocative relationships they provide—between interior and exterior, or among interior spaces—in order to empower the user creatively as the building’s chief participant. SANAA practices the aesthetics of “constructing relationships” in a radical form.

This exhibition will present most of their works through 12 models and 20drawings. Each model is not a conventional architectural model but more a conceptual sculpture.

SANAA design the installation as a new exhibition stenography .One of the highlights of the exhibition is a 1/20 scale model of the Rolex Learning Center which will be installed in the atrium.

notes

1
Curatorial text of the Exhibition “ Sejima Nishizawa / SANAA: flexibility, transparency, amplitude ”. Instituto Tomie Ohtake, São Paulo, 14 of August to 28 of September of 2008.

about the author

Yuko Hasegawa, has been chief curator of the Kanazawa Contemporary Art Museum, teacher of history of the art in Tokyo National University of Fine Arts and Music, and has organised a number of pioneering exhibitions. Hasegawa curates the 7th International Istanbul Biennial.

Yuko Hasegawa, Tokyo Japan

Sanaa, Escola Polítécnica Federal de Lausanne

Sanaa, Museum of Kanazawa, Japan

 

comments

024.04
abstracts
how to quote

languages

original: português

outros: english

share

024

024.01

Metodologias integradas

O croqui e a materialização da idéia

Elaine Cavalcante Gomes, Giovanna Ortiz de Oliveira and Regina Lemgruber Julianele

024.02

XXIII Congresso UIA

Algumas notas sobre o evento Turim 2008

Haifa Yazigi Sabbag

024.03

Athos Bulcão

Maria Elisa Costa

024.05

O cassino e o incubo branco

Sobre o projeto de Niemeyer para a Pampulha

Roberto R. Andrés

024.06

Todos somos responsáveis pelos governos

Antônio Agenor Barbosa and Gisela Verri de Santana

024.07

VI Bienal Ibero-americana de arquitetura e urbanismo

Antonio Toca Fernández

024.08

Biblioteca Prestes Maia

Tempos urbanos diversos

Ana Luiza Martins

024.09

Joaquim Guedes

Quando cessa o pensamento

Miguel Pereira

newspaper


© 2000–2019 Vitruvius
All rights reserved

The sources are always responsible for the accuracy of the information provided