从家具到城市：由Metabolist Kenji Ekuan的大尺度设计项目。│Art
从家具到城市：
由Metabolist Kenji Ekuan的大尺度设计项目。
From the Furniture to the City:
1964 Scale-Escalating Projects by Metabolist Kenji Ekuan
Kenji Ekuan (1929 – 2015) was an industrial designer and a central figure in Japan’s Metabolist movement. The shock provoked by the sight of Hiroshima bombings (where he lost his father and his sister) persuaded him to become a creator of things:
When I stood in the ruins of the city after losing my father and sister to the bomb there, I was suddenly overcome by this sense of personal mission. In a world where there was nothing left at all, I felt the call of all things man-made. The burned out shell of a streetcar, an overturned truck, a half-melted bicycle… I felt like they were calling out to me, saying, “Hear us, O traveler!” (…) Experiences like that redirected my perception of the mutability of life from a sense of vanity and desolation to the sense that change drives new growth. I vowed to pursue the kind of change that fit the needs of postwar Japan through industrial design” (Excerpt from an interview of Rem Koolhaas and Hans Ulrich Obrist with Kenji Ekuan, in “Project Japan, Metabolist Talks”, Taschen 2011)
With a mixture of heroism and spirituality (arguably inherited from his late father, a Buddhist monk), Ekuan accomplished his life mission by designing “democratic” objects like public telephone booths, capsules, musical instruments and, – the one which he became famous for -, the Kikkoman soy sauce bottle. Less internationally known but equally as important are his contributions to the Metabolist project, (Kenji joined the group since the beginnings, at the 1960 World Design Conference), a series of interiors-, housing and mass produced designs and realisations questioning human inhabitation and ways of living. Determining to his education was the participation in Konrad Wachsmann’s Tokyo seminar in 1955, a decisive turning point in the younger architects’ awareness of technological possibilities, and the Buddha-like teachings of professor Iwataro Koike, to whom Ekuan and his fellows dedicated the name of their 1952-born design collective (GK – Group Koike).
Kenji Ekuan （1929 - 2015）是一名工业设计师，是日本新陈代谢运动的核心人物。广岛原子弹事件之后（他失去了父亲和妹妹）令他成为决心一名事物的“创造者”。
原子弹事件我失去了我的父亲和妹妹之后，我站在城市的废墟中时，突然被这种个人主义的感觉所冲昏了头脑。在一个什么都没有留下的世界里，我感觉到所有事物都是人造的。当一辆电车被烧毁，一辆翻倒的卡车，一辆正在融化的自行车......我感觉它们正在对我说：“Hear us, O traveler!”（...）这样的经历让我从虚荣心和孤独的感觉中重新指引了我对生活无常的看法，而这种感觉正是推动了变化的产生。。我发誓要通过工业设计去追求那种符合战后日本需求的一种改革“（摘录于2011年Taschen在”日本项目新陈代谢会谈“中对Rem Koolhaas和Hans Ulrich Obrist与Kenji Ekuan的采访）
在他的英雄主义和精神中（也可以说是从已故的信奉佛教的父亲中），Ekuan通过设计类似公共电话亭，胶囊，乐器等“民主”形式来完成他的人生使命，例如“龟甲万酱油瓶子”（Kikkoman soy sauce bottle）。国际上知名度较低，但更加重要的是他对新陈代谢项目的贡献（Kenji自1960年世界设计大会开始就加入了这个团队），一系列室内设计，住宅和大规模生产的设计和项目去批判质疑人类居住和方式生活。
1955年，他参加了Konrad Wachsmann的东京研讨会，这是年轻建筑师意识到技术可能性的一个决定性的转折点，他和他的伙伴们将他们1952年创立的设计公司(GK - Group Koike)的名字奉献给了他。
Phone booth, 1953
Plastic Sky Lodge, 1962
Village Housing (agglomeration of prefabricated capsules), 1964
After the 1953’s “Phone Booth” (a pre-capsule design that became ubiquitous in Japan) and the 1962-63’s “Plastic Ski Lodge” (a well equipped mobile home transportable on a truck), Ekuan began designing systems operating on every scale: from the single furniture to a city: “insisting“, as stated on “Project Japan” “on fluidity between object, architecture, and urbanism“.
1964 “Furniture House” is the result of a series of experiments on the creation of domestic space through movable – Metabolist furniture – each one equipped with a structure of “skeleton”, “organs” and “skin”. The house is not defined by walls but by the composition of furniture, this way predating of almost ten years the experimentations of European and (above all) Italian radicals, as the pieces exhibited at 1972’s “Italy,
在1953年的“ 电话亭 ”（在日本无处不在的一种预胶囊设计）和1962年的“ 塑料滑雪小屋 ”（一种装在卡车上的装备精良的移动房屋）之后，Ekuan开始设计各种规模的系统：从单一的家具到城市设计：“ 坚持 ”（insisting），就像“日本工程”所说的“ 物体，建筑和城市之间的流动性 ”（on fluidity between object, architecture, and urbanism）。
1964年“ 家具之家 ”是通过活动式新陈代谢家具进行的一系列家居空间创作实验，每一件家具都配备了“骨架”，“器官”和“皮肤”的结构。这座房子不是由墙壁而是由家具构成的，这种方式比欧洲和意大利一些建筑激进分子的试验早了近十年，比如1972年的“ The Museum of Modern Art”。
Metabolistic Furniture, 1964
Movable Furniture Room, 1964
Furniture House, 1964
Increasing the scale, in 1964 Ekuan designed the “Pumpkin House” as an expandable structure for a couple, able to feature outdoor space and even expandable to include a mini-capsule for a child.
项目的规模不断扩大，1964年，Ekuan将“ 南瓜屋 ” 设计为一对夫妇的可扩展结构，可以放置室外空间，甚至可以扩展为小孩的迷你胶囊。
Pumpkin House, 1964
Pumpkin House, Axonometric drawing, 1964
1964’s “Tortoise House” is a family dwelling integrated into an inhabitable space frame formed by separated room-units and facilitating growth.
1964年的“ 乌龟屋 ”是一个家庭住宅，由独立的房间组成，形成一个可居住的空间框架，便于生长。
Tortoise House, section, 1964
Tortoise House, view of the Model, 1964
Tortoise House, view of the Model, 1964
Tortoise House, view of the Model, 1964
Again in 1964 (obviously, a very productive year for Ekuan), yet escalating in scale from the furniture to the megastructure, is the design for a “Dwelling City“, a double stacked tetrahedrons structure with capsules attached on the surface and the interior designated as public space. A primitive concept of “Cities within Cities” is obtained by the definition and mutliplications of clusters. The project was intended to be installed in the Kote area of Tokyo, frequently flooded.
在1964年（对于Ekuan来说，这是一个非常高效的一年），同样从家具到大型建筑的规模也在不断升级，这就是“ 住宅城市 ” 的设计，一个双层四面体结构，作为公共空间。“ 城中城 ”（Cities within Cities）的原始概念是通过集群的定义和相互作用得到的。该项目拟在东京的Kote地区安装。
Dwelling City, Photomontage, 1964
Dwelling City, Model superposed on a Tokyo aerial photograph, 1964
Dwelling City, section, 1964
Dwelling City, section and axonometric drawing, 1964
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