Stephanie Forsythe 和Todd MacAllen在2002年赢得这个建筑的竞赛。
Appreciation towards Molodesign for providing the following description:
the Nebuta festival and its creative culture in the Northern Japanese city of Aomori.
competition for their design of a housing and community project in Aomori, Japan. The
competition was judged by Tadao Ando and Jean Nouvel, and sponsored by the City of
Aomori. Over the project’s course, the program evolved from housing and community
facilities into a unique cultural building inspired by the craftsmanship and spirit of
Aomori’s Nebuta Festival. In 2007, Forsythe + MacAllen (molo design) invited ddt/Arch
and Frank la Rivière Architects Inc, together with the structural team of Kanebako
Structural Engineers and the services engineers of PT Morimura & Associates Ltd. to
work in collaboration with molo to develop the construction documents and oversee
construction of the Aomori Nebuta House Museum.
is a form of storytelling during which heroes, demons and creatures from history and
myth come to life as large-scale (9 x 7 x 5.5m) paper lanterns (Nebuta) illuminated
from within. The Nebuta House is a dwelling for these mythical beings to reside. Each
year the five best Nebuta, selected for their creative artistry and craftsmanship, will
take the place of the five Nebuta selected from the previous year. Functionally the
institution is meant to share the tradition, archive the history and nurture the future
of this unique cultural art form. Located in front of Aomori train station, where the
city meets the sea, the building opened January 5th, 2011.
The building is enclosed by ribbons of twisted steel, enamel-coated deep vibrant red
and individually shaped to create variation: openings for light, areas of opacity,
views, or opportunities for pedestrian circulation. For each steel ribbon, the bottom
was set to a unique and specific angle, with thought to how sunlight would permeate the
ribbons as it moved throughout the day, while the top part of each ribbon remains
parallel to the building. In between these fixed points, some of the ribbons follow a
natural cur ve while others were selected to have further bending and shaping to create
larger openings and an abstract expression of wind. The steelworkers executed great
skill and judgment interpreting the images from the 1:50 scale model that had been made
from ribbons of paper, into ribbons of steel (9mm thick x 300mm wide x 12 meters high).
In this way each ribbon was individually crafted during prefabrication, then manually
adjusted on-site during installation. No part of the finished screen is the result of
computer-aided fabrication; like all things handmade, human intervention enlivens
function and expression.
“engawa”, a spatial concept originating in traditional Japanese houses. In this case,
a dwelling for giant paper heroes, demons and creatures, the engawa acts as a threshold
between the contemporary world of the city and the world of history and myth. Shadows
cast on the walls and floor through the exterior ribbons have the effect of creating a
new material. Shadow and light become another screen – the convergence of material,
light, shadow and reflection changing with the sun and weather.
Commonplace objects like power lines and vending machines are dispersed throughout the
uniformity. Here, the building appears as a vibrant curtain at the street’s end –
activating the streetscape, transforming everyday experience into theatre. Bicycles and
traffic passing by, city workers breaking to eat or children playing in the snow take
on a quality of performance and play.
Inside, a shadowy dwelling for the Nebuta is shaped by the layers of screens and
volumes of ancillary rooms. The volumetric juxtaposition accommodates many possible
uses and perspectives. The interior is black, like a black box theatre. The abstraction
of materiality, detail and colouring of the building allow visitors an intimate focus
on the story being told. Luminous Nebuta appear suspended in the darkness of the hall,
their vibrant colours reflected in the rippled, water-like floor. This is a subtle
analogy to the last day of the festival when some of the Nebuta are set out to float on
with an upper level theatre and multi- purpose spaces below (for music, activities and
exhibits) Providing a dynamic visual connection to the Nebuta during musical and
theatrical per formances, encouraging creative juxtapositions and flexible use. During
major events, the towering Nebuta exit and enter the building through another giant
sliding door. When sitting in the theater with both sets of sliding doors open, one can
see the vibrant Nebuta below, and beyond, Aomori Harbour and the Hakkōda mountains.
conservative budget, the evolution of the building’s type and program stands as
symbolic foreshadowing of the many creative possibilities for use. Already, programming
has demonstrated a broad range of uses: workshops, conferences and new cultural events
are taking place. Perhaps the building can help to usher the time-honoured tradition of
Nebuta into a contemporary era, offering a place to share ideas and bring creative
minds together, even artists of different cultures and disciplines. The building
elevates Nebuta in the public life of the city, celebrating the stories and impressive
craft of the ephemeral paper floats and the people who make them.
The Nebuta House site occupies 13,012 m2 on the waterfront of Aomori Harbour. The total
building area is 4,340 m2 with a gross floor area of 6,708 m2 which includes the engawa
(covered outdoor walkway enclosed by steel ribbon screen), utility basement, two levels
to accommodate the program of exhibit hall, theatre, multi-purpose / music rooms,
restaurant and gift shop. At the highest point the building stands at 15.4 m, the first
level is 4.5 m floor-to-floor, the second level is 5.9 m; both entrance and exhibit
halls are double-height at 8.5 m.
820 steel ribbons, 12 m tall, encircle the glass-and-steel structure. The prefabricated
ribbons are enamel-coated deep red (inspired by the traditional local lacquer ware) and
have been installed using a four-point connection system, manually adjusted on-site.
The building sits on 177 piles that go 27 m deep through fill to reach solid ground. In
consideration of the soft sea side soil, the lightness of the steel structure was
important and adopted early into the design process. The exposed round steel columns
are as slender as possible – this also helps give the structure a feeling of physical
lightness. The floor to ceiling window mullions are black, galvanized solid steel and
fasten to the steel structure of slender columns to contribute structural support to
the steel ribbon screen of the façade (horizontal wind load). Segments of the exterior
wall are made up of prefabricated lightweight concrete panels. The interior is
partitioned by a series of black, galvanized steel screens and panels, physically
enclosing the space while maintaining visual connection beyond at certain angles. The
galvanized steel used in the interior is treated with a patination process that
blackens the metal while retaining the crystalline pattern of zinc galvanization.
Architectural Design and Site Super vision
– molo (Todd MacAllen + Stephanie Forsythe)
– d&dt Arch (Yasuo Nakata)
– Frank la Rivière Architects Inc (Frank la Rivière)
– Kanebako Structural Engineers
– PT Morimura & Associates, Ltd
– Kajima – Fujimoto – Kurahashi Construction JV