Truss Wall House – Ushida Findlay Architects JAPON

Kathryn Findlay (1953-2014)

1979 A graduate of the Architectural Association, London 1998 Professor at Tokyo University 1999 Visiting Professor at UCLA, The Angels 1986.
Creating Ushida Finlay Partnership in Tokyo.
Eisaku Ushida (1954)
1976 A graduate of the University of Tokyo 1999 – Visiting Professor at UCLA, The Angels.
Ushida Findlay Architects (UFA)
is an agency associated architects, Japanese and English, founded in 1986 and London-based.

Interview with renowned architect Kathryn Findlay – Ushida Findlay Architects (UFA) is an agency associated architects, Japanese and English, founded in 1986 and London-based. The architect Kathryn Findlay, passed away 60 years, was creative of space age homes surreal Japan and co-creator of Orbit tower at the London Olympic Park.

At once earthy and hi-tech, rustic and urban, the houses she built in Tokyo in years 1990, with her husband, Eisaku Ushida, were an obvious physical primitive style of his future. Recalling the buildings to the north wall of mud in Africa and New Mexico, crossed something directly Jetsons, they appeared as objects of other countries in the streets of the suburbs of the city.

Forming a series of cave-shaped spaces in a serpentine loop white, le Truss Wall House , completed 1993, has made elaborate feats with concrete before computer modeling to create an ubiquitous curvilinear forms. It was commissioned by the owner of Truss Wall System, a method of construction of composite curves concrete, which until then had been used for decorative applications, such as the manufacture of corrugated curtains concrete and sculptures dragon.

Ushida Findlay and took the fantasy theme a little further, building a hollow shell dotted with constellations of circular windows, with a deck made of what looked like pink marshmallows. He was half alive, and the building has since taken his life: small planting bed pushed fully home with a thick coat of ivy.

In 1987, Japanese architect Eisaku Ushida, graduated from Tokyo University (1976) and Scottish architect Kathryn Findlay, were trained at the Architectural Association (1979). Both are former partners of Arata Isozaki (between 1976 and 1982).

Their architecture is situated at the crossroads between Bachelard's concept of space, exploring its symbolic components, psychoanalytic, not to say "psycho-geographical", and a purely scientific research and geometric shape. for Ushida & Findlay, This detour through the basic sciences, focused on the geometry of the chaos and nonlinear mathematical, is the way to bring true independence of the architectural object.

This allows them also – by an architecture very similar to the formal explorations of Frederick Kiesler («Endless House»), Antoni Gaudi, organic spaces Bruce Goff, sculptures by André Bloc, as well as those designed by Häusermann and Chanéac in Years 1960 propose a possible synthesis between the subjective desire to free form and the need to establish objectively.

L’architecture, the landscape and sculpture open here on the road that leads to new forms of spatiality, traversed by repeating units as the Moebius strip and the spiral, a growth model in nature, which retains the internal analogies, at the same time, inner and outer inseparable.

Their organic forms take place in a set of topological space twists that galvanize and stimulate perception multisensory (Truss Wall House). Their architecture is the projection, in physical space, psychological desires of its inhabitants (Soft and Hairy House). He claims the continuity between the body and space.

Spatial awareness and the unconscious merged in the same cognitive field, where there is an interference involving intuition and mathematical modeling. The relationship between the body as space and mental perception of this space is the center of their architecture.

Ushida Findlay's method the wall allows a variety of independent forms, within the structural integrity of concrete. Ushida Findlay and explored these possibilities in the design of this experimental house.

The plasticity of the system allowed an unlimited topological manipulation between solid and void. So, functional criteria have been met by emulating the flow of soft viscera packed in a container and frozen for a moment to gain a balanced flow.

By replacing the standard architectural language, wherein the elements are "hinged", by this "fluid medium" Ushida & Findlay intended to reach a deeper layer of architectural language borrowing from the mathematics of topology.

The courtyard was laid with balloon tiles, doors embossed with fractals veins and the whole building was finished in a mortar finished texture brush, creating a continuous surface within. The essence of the finished building can not be captured by video or photographed, it must be experienced in movement and over time.

Truss Wall House Machida-city, Tokyo, Japan, 1993

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Home Sweet hairy
Soft and Hairy House by Ushida Findlay
Tsukuba-city, Ibaraki, Japan, 1994

The Soft and Hairy House, a modern Japanese house in the new science city of Tsukuba in Japan, designed by the architectural partnership of Ushida and Kathryn Findlay. Wedged between two wings of a house, There is a bathroom in the form of oversized egg with portholes that come out in the yard.

The Soft and Hairy House, a modern Japanese house in the new science city of Tsukuba in Japan, designed by the architectural partnership of Ushida and Kathryn Findlay. The seating area in a curved corner of the house has semicircular seats equipped with tube-shaped cushions covered with curved leather. The central sections unfold like saddles and footrest. Above, bundled linen sheets filter and diffuse ceiling lights.

Home Sweet hairy Tsukuba-city, Ibaraki, Japan, 1994

Intrigued by the provocative statement of Salvador Dali on the architecture of the future, customers – a young couple with architectural journalists – had ordered a house “soft and hairy” d'Ushida et Findlay. Covered with a carpet of wild grasses the same species that grows on the surrounding desert –

the House, surrounded by patio, was designed as an embodiment of the couple: the body of man and the female body wrapped around the body of the child represented by the shape of the arm-like bathroom. The House – as a landscape where the familiar and the foreign man dresses – was fully programmed on the basis of his psychoanalytic implications.

For Ushida and Findlay, This work helped to project a surreal line of thinking in architecture. Although minimalism, a dominant architectural trend in Japan, strives to "capture the actual", they tried here, how to Dali, to "materialize the dream" and build a mixture of "reality" in the same space factor which are inside and outside of architecture. This new “reality” shows a wave periphery, as if it had been the abstract and the real “real”. construct and a mixture of “reality” in one and the same space factor which are inside and outside of the architecture.

This new “reality” shows a wave periphery, as if it had been the abstract and the real “real”. construct and a mixture of “reality” in one and the same space factor which are inside and outside of the architecture. This new “reality” shows a wave periphery, as if it had been the abstract and the real “real”.

Home for the Third Millennium London, Britain, 1994

This house is a prototype designed for an exhibition at the Architecture Foundation in London. Ushida Findlay suggested a home for the future when the network electronic devices envelope around the world a new layer “e Gaia”.

The cities have been allayed, dissolving its functions in campaign or computer screens. People spend their time very differently. This house was designed for this type of living and working, located in a rural environment. The house and the landscape are merged into one.

The roof is a three-dimensional extension, (appearing and returning), the ground plane. The plan is based on a logarithmic spiral and elevation is based on the sinusoidal curve. This method amalgam two types of geometry in three-dimensional shapes, has the potential to generate many other new forms. Inside, the house includes a series of oval pods for rooms, the studies, eating places and bathrooms with, between them, more flexible living spaces.

Doha Foundation Art and Official Residence, Doha, Qatar 2005 –