Interview withTakatoku Nishi, LICC Winner in BUILD (Architecture) in the Non-Professional category, shares how winning the LICC “Best in Build” award for his doctoral project is a tremendous honor and a reflection of his dedication and innovative vision. He also discusses the most challenging aspects of the project and the strategies he used to overcome them.

 

 

Congratulations on winning the LICC with your “Ripple” project! Can you describe the concept behind this architectural design and what inspired you to create it?

Thank you very much. First of all, I am truly honored to receive such a prestigious award. The inspiration for this architectural work began as my doctoral project, where I conducted various experiments and verifications, culminating in the design and construction process, all completed alongside my dissertation.

Since my undergraduate years, I have been fascinated by the concept of “architecture as a vessel of light,” and my research in this field reached its 10th year in 2023. For me, architecture is a place to experience space, and that experience is the beauty created by nature. I am always drawn to natural scenes such as sunlight filtering through leaves, sunsets, reflections on water surfaces, and the movement of trees. Hence, I focused on the theme of “creating spaces where the forces of nature can be experienced through light phenomena.”

In “Ripple,” I started by discovering optical phenomena. By passing light through pipes, various effects were created, and I conducted numerous experiments to incorporate these phenomena into spaces using natural light and wind. As a result, by allowing certain wind and sunlight conditions, I was able to create a space that provides an extraordinary experience.

The detailed content is described in my dissertation, which is available online, so please take a look if you have the time. The dissertation title is “光が織りなす現象と空気感 : Phenomena of Light and Atmosphere.”

“Ripple” suggests a dynamic and fluid form. How did you approach translating this concept into architectural elements, and what challenges did you face during the design process?

The form of the architecture was naturally derived. Based on the data obtained from verifying the light phenomena, I imagined the appropriate scale of the space while standing at the installation site, considering aspects such as the overlapping of light rings, rhythm, and whitespace. From there, I began sketching the image freehand.

Since this project was created as a doctoral thesis, the installation site was limited. I utilized the characteristics

of the site, envisioning a linear, elongated space with depth, allowing the ripples of light to guide one through the space. Additionally, I realized that the roof could be thin due to the arrangement of the pipes, making it easier for me to assemble and structurally advantageous.

By connecting the shape of the land with the thin roof using lines, a unique form emerged, making it an inevitable shape for that specific location.

Your project embraces both functionality and aesthetics seamlessly. How did you balance these aspects to create a design that not only looks impressive but also serves practical purposes effectively?

Thank you. I believe that the exterior and the space should be closely connected. Just as the skeleton under the skin forms the shape of a living being, there should be a necessity between the exterior and the interior. That is natural and beautiful.

In this project, I initially conceived the idea of not making the interior space a complete darkroom. I aimed for a space illumination that is dim and tranquil, like a Japanese tea room, stimulating the imagination. I came up with the idea of using spacers between the panels that form the walls to allow light into the interior. By arranging the panels like louvers, they function as wall lights without affecting the floor or ceiling.

Moreover, I unified the exterior with bright colors and the interior with dark colors to create a space illumination that resonates with natural light. Considering the winter light in Tokyo, I incorporated gaps in the walls. Thus, the functions for spatial experience created the distinctive shape of the exterior.

Can you share some of the most difficult obstacles you faced during the design and how you resolved them? What did you learn from these experiences?

The most challenging aspects were budget and construction methods, as it was a personal project. In terms of budget, the issue was how to minimize material costs without waste. Specifically, for the lumber required for the foundation of the construction, I searched for nearby lumber dealers to obtain the materials at the lowest cost. I did all the cutting, joint processing, and painting myself to minimize costs.

Regarding the floor processing, I initially considered laying white gravel, but it turned out to be unrealistic, requiring over two tons of gravel for about 95m2 of space. I learned about plaster finishing through an acquaintance and decided to use plaster finishing on the boards. This approach clarified the boundary between the exterior and interior, achieving a good effect.

In terms of construction methods, creating a space with a height of 4 meters and a floor area of 95m2 alone was challenging. Considering the removal after the exhibition period, I designed the structure to be easily dismantled. I divided the ceiling parts and made the pipes detachable, and I set the spacing between the 127 columns that served as wall supports to the minimum width that I could fit into, allowing for easy screw fastening. Through this experience, I learned the importance of meticulous planing and on-site adjustments.

Winning the LICC “Best in Build” prize is a testament to your creative vision. What does this award mean to the design team & office/agency?

 It is truly an honor. Once again, thank you very much. My doctoral project winning the LICC “Best in Build” award is a significant honor and a testament to my dedication and innovative vision. This award recognizes the effort and creativity I have invested in my research over the years, and it holds great personal significance.

For the university, this accolade enhances our reputation in the academic research community. The recognition brings attention to the quality of our research programs and education, attracting new students, funding, and collaborative opportunities.

Personally, this award motivates me to continue pursuing excellence in my field. It marks the culmination of my doctoral journey and signifies the beginning of new opportunities in my academic and professional career. This recognition confirms that my contributions have made a meaningful impact and encourages me to push the boundaries of research and design further.

Looking ahead, are there any upcoming projects or new design challenges you’re particularly excited about, and how do you envision your work evolving in the future?

Currently, I am focused on the characteristics, movement, and shapes of materials. For example, how the bending of ribbons moves in the wind, and how the natural forces create effects based on the natural shapes of materials. This ties into the aforementioned relationship between the surface and the interior. I am researching how to create spaces by integrating the membrane and the skeleton seamlessly.

As part of this research, I participated in a creator-in-residence program in Finland for three months in 2023, creating a small-scale work. The piece, “Koive,” was inspired by the scenery of birch trees in Finland. I envisioned capturing the characteristic movement of birch leaves in a continuous image, like a film strip. Structurally, the work utilizes tension, with the shape of the space being defined by the tension and slack.

Currently, I am in Finland again, having just completed the production of another piece last week, which is now on display. This work, “Tyyni,” is an installation featuring reflection ribbons fixed in a mountain shape, where the wind creates distinctive movements. The unique properties of the material result in notable reflections and refractions of light, designed to align with the low-angle sunlight in Finland.

Gradually, through research and production opportunities, I aim to solidify the concept of “spaces where the forces of nature can be experienced through light phenomena” and “architecture as a vessel of light.”