SHIGERU BAN

Pritzker Prize-winning Japanese architect Shigeru Ban is a champion of disaster relief, pioneering the use of temporary paperchip and shipping container shelters, and balancing pro bono projects with commercial work. As an inspiring show at Sydney's Sherman Contemporary Art Foundation (SCAF) explores his humanitarian structures, we met this maverick talent.

BY SOPHIE DAVIES

What's your design philosophy?
Problem-solving. Problems solved by design.

What inspired you to get involved with disaster relief?
I was tired of working for privileged people who had money and power. I like to design monuments, but I was quite disappointed that I was mainly working for privileged people, not the general public. Earthquakes don't kill people, but building materials do. I saw the very poor condition of temporary housing after natural and man-made disasters, and I thought I could improve the condition of these facilities. For me there is no difference between my pro bono and commercial work because I have the same interest and energy for both, and I get the same satisfaction. 

What materials intrigue you?
I use any materials available locally, such as paperchip – not paper by itself – which exists anywhere in the world, and is cheap, strong and lightweight. Even when I was working in Rwanda I found a paperchip factory in the capital Kigali. I'm especially interested in humble materials. If say I used steel, it's a wonderful material, you can do anything with it, but wood and paper have many more limitations. I'm interested in designing with the limitations of the material. Paper is interesting because it's lighter and weaker. I like to take advantage of the weakness of this material to make something different. 

TOP: Japanese architect Shigeru Ban
ABOVE: Ban's Cardboard Cathedral for Christchurch, New Zealand, was built as a community gathering space after the 2011 earthquake devastated the city's historic stone cathedral (see our earlier post). An interactive model of it forms part of Sydney exhibition 'The Inventive Work of Shigeru Ban, SCAF Projects 34 & 35'

What's next for you in terms of disaster relief?
I don't know, I hope I won't be busy! My goal is to make buildings that will be demolished. Shelters that will be dismantled after six months, with materials that can be recycled and reused after, with no waste. The problem is people don't want to move out of my temporary houses, so many of them are becoming permanent!

So is the line blurring between permanent and temporary buildings?
Concrete can be very temporary if developers get rid of it, whereas paper structures can be permanent as long as people love them, like my emergency cathedral for Christchurch. I would like to continue building monuments to be loved by people. Besides, beauty doesn’t come from the kind of material you use, it comes from the proportions. Creating light, shadow, natural ventilation and space between inside and outside are what make living conditions beautiful. 

ABOVE: Two original-scale reproductions of Ban's emergency structures occupy SCAF's Courtyard Garden. His paper log houses for Kobe, Japan (1995), and Ecuador (2016-ongoing) were designed in response to earthquakes and cost around US$2,000 a unit to build. Note the care taken to match the sandbag-filled, donated beer crate bases to the huts

After designing France's Centre Pompidou-Metz in 2010, your Paris concert hall La Scene Musicale was unveiled in April. Tell us more.
It was a former factory site on the Île Seguin. They wanted the design to be a symbol for the western gateway of Paris. I'm not the kind of person to develop unusual shapes. For me it's very challenging to design something iconic and monumental. I made a sail of solar panels, which rotates around a curved timber-clad auditorium, following the sun. Mosaic tiles inside the concert hall change colour from green to red.

What's currently exciting you in design or style?
Nothing new comes out anymore. Generally speaking, architects don't like inventing. People are afraid to be sued. If you do something innovative or experimental you can be sued very easily, especially in the United States. Now everyone's competing with different, funny shapes, which can be created by computer easily. They're interesting, but it's not innovative technology.

Any ideas for a solution to affordable urban housing?
I don't know why this is a problem because there are so many ideas to make affordable housing – as long as developers don't mind making less profit! It's not about creating tiny houses, it's about the construction method. Even with the same space we can make a comfortable house inexpensively. But cities are no longer being designed by urban planners or the government, now commercial developers are leading the way.

ABOVE: Installation details of SCAF's Kobe shelter, which features thick paper tubes for walls, lined with insulation and topped off with tent material; The Ecuador house teams paper tube walls with green-hued bamboo sheets, plus a thatched roof. Both eco-friendly units include toilets, and are easy to dismantle or recycle

Where or how do you find inspiration?
I don't suddenly get inspired by other things. I just continue developing my original ideas to the next stage, little by little. Rather than keeping an eye on cutting-edge trends or magazines, I'm just busy developing my own stuff, as I don't want to be influenced by others.

Who are your design heroes?
Buckminster Fuller and Frei Otto. I like architects who invent their own material or structural system, because I hate to be influenced by the fashionable styles of the day. They both invented their own systems to design things according to the material. I was lucky to collaborate with Otto on my Japan Pavilion for Hanover's Expo 2000 and I learned a lot from him. He always tried to use the minimum material and minimum energy to make maximum space. My favourite architect though is Alvar Aalto. I designed an Aalto exhibition in Tokyo in 1986, but didn't want to waste precious wood for a temporary space. That's when I discovered that paperchip, made of recycled paper which I turned into a tube, was much stronger that I'd expected and inexpensive.

ABOVE: Inside, the SCAF exhibition features scale models, videos, and examples of building joints and partition systems developed by Ban for his temporary shelters; A model details the interior of the emergency cathedral for Christchurch, New Zealand, including bespoke furniture; Another showcases the sinuous roof of Ban's Japan Pavilion for Hanover's Expo 2000, a collaboration with late German architect Frei Otto

Where's on your travel wish list?
I love travelling... to enjoy the local food and wine. That's why I love coming to Australia! I commute every week between Tokyo and Paris, where I have offices. Usually I travel at weekends, so as not to waste the week days.

What should a design fan see in Tokyo?
I would recommend going to Kyoto instead. In Tokyo most of the buildings are designed by big firms, who aren't usually very good architects, so they're boring. It's the same for most major cities, whereas Kyoto has many interesting innovations. It's a more traditional town, and making buildings was so difficult in the past that you needed great ideas and craftsmanship.

What's your social media of choice?
I don't do it at all. Does my office use Instagram? I don't know!
shigerubanarchitects.com  sherman-scaf.org.au

'The Inventive Work of Shigeru Ban' is at Sherman Contemporary Art Foundation, 16-20 Goodhope Street, Paddington, Sydney until 1 July 2017 (open 11am-5pm, Wednesday to Saturday)

Pictures: Brett Boardman (SCAF)

LAVA

Chris Bosse is one third of architecture firm LAVA, an innovative practice based in Sydney, Berlin and Stuttgart. The trio’s global, multi-disciplinary portfolio ranges from a sports hostel in Germany to a UAE eco city and a sinuous exhibition space for 2016’s Sydney Design Festival.

BY SOPHIE DAVIES

What inspired your Sydney Design Festival exhibition design?
We designed the Powerhouse Museum exhibition ‘Out of Hand: Materialising the Digital’ (on until 25 June 2017), which was a digital dream come true. As a practice deeply entrenched in digital fabrication technologies, it was exciting to create an immersive space that provides room for storytelling and objects while being part of the story itself. Inspired by the exhibition content, our design explores the idea of a continuous line as a means to create a spatial continuum in a digital world, and to express the infinite possibilities of emerging digital data collection and manufacture. We used the latest technologies and CNC for fabrication, which were both time- and cost-effective.

ABOVE RIGHT: LAVA's Asia Pacific Director Chris Bosse
ABOVE: Futuristic exhibition design for 'Out of Hand: Materialising the Digital', part of the Sydney Design Festival at the Powerhouse Museum

ABOVE: LAVA co-founders Chris Bosse (Sydney), Alexander Rieck (Stuttgart) and Tobias Wallisser (Berlin)

What do the three of you bring to the party?
When LAVA was founded in 2007 the goal was to learn from the expertise of the three directors. Stuttgart-based Alexander Rieck brings knowledge of the working environments and building processes of the future, while Berlin-based Tobias Wallisser researches and teaches cutting-edge, digital planning technologies at the State Academy of Fine Arts in Stuttgart. I moved to Sydney in 2002 and my work is based on the computerised study of organic structure and resulting spatial conceptions. We offer a mobile, highly flexible network of specialist designers and collaborators across continents.

What's LAVA's design philosophy?
LAVA stands for Laboratory for Visionary Architecture, a laboratory for ideas tested and approved. The common thread is sustainable design – beautiful, efficient and contemporary, whether for an exhibition, a hotel or a whole city.

Our creative process incorporates mankind, nature and technology. Humans are at the centre, and we merge future technologies with the patterns of organisation found in nature to build a smarter, friendlier, more socially and environmentally responsible future. We use naturally evolving structural systems, such as snowflakes, spider’s webs and soap bubbles, for new building typologies – the geometries in nature generate both efficiency and beauty. By combining digital workflow, nature’s structural principles and the latest digital fabrication technologies we build more (architecture) with less (material/energy/time/cost).

ABOVE: Bosse contributed to PTW Architects' startling Beijing Olympics Watercube; LAVA's winning design for the UAE's future eco-friendly Masdar city centre; KACST Headquarters in Riyadh, and verdant Berlin mixed-used development THE:SQUARE, are both under construction; A 2012 bid to build the Secretariat of the Green Climate Fund in Bonn

Which projects are you most proud of? And what's up next? 
The National Swimming Centre in Beijing for the 2008 Olympic Games. I was a key design member at PTW for the Watercube, which won the Atmosphere Award at the 9th Venice Architecture Biennale. Another was winning the international competition to design the centre of the world’s first eco city Masdar in the UAE.

LAVA designs currently under construction include a new university master plan and headquarters in Riyadh, Saudi Arabia; a youth sports hostel in Bayreuth, Germany; mixed-use developments in Berlin and Hangzhou, China; and a residential tower in Hanoi, plus 88 houses in Ho Chi Minh City, Vietnam.

ABOVE: LAVA's design for the new Philips Lighting Headquarters in Eindhoven, The Netherlands; Sydney International Airport's sandstone-influenced regional duty free area, another 2016-completed project

We’ve also just completed a company headquarters and lighting showroom for Philips in The Netherlands, a regional duty free zone at Sydney International Airport inspired by the sandstone rock caves of Sydney Harbour, and a Japanese restaurant fit-out.

BELOW: Chris Bosse renovated his own sleekly organic Tivoli Terrace home in Sydney's inner-city Paddington in 2015

What drove the design of your own Sydney home?
Bringing the outside in was the priority in the 2015 renovation of Tivoli Terrace, a four-metre-wide terrace house, which links Victorian Sydney with the future of modern architecture. Every surface is a design element making a statement, and has more than one function like containing storage. New timber floors streamline the living areas, while sliding windows and timber screens open up to a courtyard and extend the space. Materiality was kept pale with natural wood and neutral colours, juxtaposed with iconic mid-century furniture and contemporary designer lighting which add 21st century cool.

ABOVE: A feasibility study for a Bionic Tower in Abu Dhabi, with an intelligent skin that responds to its environment; Featuring a shimmering façade of fins, Hangzhou's Zhejiang Gate Towers are under construction

Where do you get inspiration?
I start by going for a walk or swimming in the morning or at sunset – not only is it relaxing but that's also where I find ideas. You need oxygen running through your veins and you are completely enlightened. Going to work and sitting in front of a white sheet of paper is still the best moment, even if the sheet is a screen. A lot can get lost from idea to project and then realisation, and we try to diminish the gap.

What's currently exciting you in design or style?
‘Intelligent’ architecture. It is not about the shape but about the intelligence of the system. The intelligence of the smallest unit results in the intelligence of the overall system. I envision a world where buildings are responsive to external influences such as air pressure, temperature, humidity, and solar radiation; of networked building systems, where the whole is greater than the sum of its parts. In the architecture of the future new materials and technologies enable an adaptability, responsiveness, environmental awareness and strength not seen in conventional architecture. I practice these principles in projects from exhibition design in Sydney to villas in Vietnam.

ABOVE: Also under way is the Y-shaped Bayreuth Youth Hostel in Germany, sporting innovative forms and sustainable credentials

Who are your design heroes?
German architect Frei Otto’s soap bubble experiments for the Munich Olympic Stadium in the early Seventies are a great inspiration. Verner Panton’s iconic 'Panton Chair' anticipated the digital revolution by decades. And Antoni Gaudi, who designed buildings of unspeakable beauty and innovation, inspired by nature.

Where's on your travel wish list?
Snorkelling – being underwater – anywhere, from the Great Barrier Reef to Vanuatu and Malaysia. The coral reefs are the cities of the future where species coexist and thrive together. The light refractions of the sunlight create endless patterns and artwork together with the sand. I would love to see Antarctica and the Galapagos Islands too, although not for work!

What's your social media of choice?
Anything visual, Facebook or Instagram.
www.l-a-v-a.net

Pictures: Jayne Ion and Marinco Kojdanovski (Out of Hand exhibition)

KELVIN HO Akin Creative

Kelvin Ho copy.jpg

Award-winning Sydney architect and designer Kelvin Ho made his name with minimal yet striking interiors for some of Australia's best fashion stores, including Belinda, Bassike, Dion Lee, Incu, sass & bide and Willow. He's also a regular collaborator with Sydney bar/restaurant innovators Merivale, working on hit recent venues Coogee Pavilion and The Paddington with more irons in the fire. 

BY SOPHIE DAVIES

Akin Creative has worked on fashion stores, bars and restaurants, and residential spaces. Do you wear different hats for these projects or do they all draw on the same aesthetic?
Working on such a wide range of projects lets us constantly test new ideas and designs. I wear a different hat for each Akin Creative project as the structure of each commission is quite varied and I feel we create better solutions when each project is treated as unique.

How do you describe your design philosophy?
I would describe my philosophy as a cross between A Tribe Called Quest, Bob Dylan and Chet Baker

ABOVE RIGHT: Sydney architect/designer Kelvin Ho of Akin Creative; Ho working on minimal sets for the Australian Ballet
BELOW: Beachy timbers, bespoke details and geometric tiles at Manly Wharf restaurant Papi Chulo in Sydney, which embraces the outdoors

Your interiors for Merivale’s Sydney restaurants and bars have been inspiring. What are your favourite projects with them?
Each Merivale project is special in its own right, but my top three would be the Coogee Pavilion and Coogee Pavilion Rooftop at Coogee Beach for its sheer size and the impact it had on the community; Papi Chulo in Manly because we were able to design some amazing bespoke elements; and Ms.G’s in Potts Point, which was my first and one of the most fun.

What’s it like collaborating with their team?
It’s a true collaboration with Merivale as a client. Chief creatives Justin and his sister Bettina Hemmes are heavily involved in each decision. We spend a few days each week together working through the designs, which makes it a really organic process.

ABOVE FROM TOP: Buzzy four-storey mod-Asian restaurant Ms.G's in Potts Point teams neon with street art; beachfront Coogee Pavilion's airy industrial-chic interiors and grand scale have transformed the Coogee scene, with a family-friendly ground-floor and rooftop cocktails
BELOW FROM LEFT: Style collaborators Amanda Talbot, Merivale's Bettina and Justin Hemmes, and Akin Creative's Emilie Delalande and Kelvin Ho have worked on a bunch of Merivale hot spots, with more to come

Tell us about your recent Merivale project The Paddington. And the style directions for upcoming launches The Newport and Queen Chow?
The Paddington, on Paddington’s Oxford Street, brings together a bar, restaurant and pub under one roof. It was inspired by a classic butchery complete with cool rooms. Typical to Merivale venues, the journey through The Paddington is tactile and connected to the food and produce on offer. The kitchen is a focal point with three rotisseries and double-height custom copper range hoods. Without giving too much away, The Newport (in the Northern Beaches) and Queen Chow (the former Queen Victoria Hotel in Sydney's inner-west Enmore) are very different projects. The Newport is all about sunshine and the outdoors whereas Queen Chow is more urban and moody.

What’s next for you work wise?
We have lots of hospitality and retail projects in the pipeline. All the projects and clients we work with are amazing. We recently finished a new Maldives resort, on Baa Atoll, called Amilla Fushi.

Where do you get inspiration?
My inspiration is pretty broad – anything from nature, music, art, cinema or philosophy can be an influence. Generally, a really small detail that catches my eye can be a big inspiration.

ABOVE: Industrial goes coastal: Akin Creative's sleek interiors for new surfwear store Saturdays NYC in Bondi

What’s currently exciting you in design or style?
The ballet. I recently worked with the Australian Ballet on set design for a new production 'Filigree & Shadow', part of three-piece '20:21’. Being able to collaborate with such an artistic company was incredible – working with dancers was a really different way of designing for me. 

ABOVE: Akin Creative's sculptural set designs for the Australian Ballet's '20:21' dance performance

Who are your design heroes?
Italian designer Gio Ponti, American artist Donald Judd and Brazilian architect Lina Bo Bardi

Is Sydney a big influence on you? And where’s on your travel wish list?
Yes, I was born in Sydney so I know it really well. It’s a big influence as it balances the intensity of the city with the laid-back culture of the beaches and harbour. My travel wish list is generally anywhere with good bars or snow. Ideally both. 

What’s your social media of choice?
Instagram! Follow us at @akincreative.
akincreative.com

Kelvin Ho will join speakers Justin and Bettina Hemmes and stylist Amanda Talbot at 'Style Me Merivale', a design talk on Monday 7 March 2016 at Sydney's Ivy Ballroom (6.30pm until late). Hosted by Vogue Living's Editor-in-Chief Neale Whitaker as part of the 'March into Merivale' season, it will be an inspiring insight into the styling secrets of the Merivale team and its exciting upcoming restaurants and bars. Snap up tickets online for $45 each, including drinks on arrival. DesignFizz has a pair of tickets to give away; contact us here for a chance to win (subject Merivale, share your email).